Secret Invasion

★★1/2

Mild Spoilers

Directed by Ali Selim
Written by Kyle Bradstreet, Beto Dantas, Jonathan Hirschbein, Matt McRee, Haleema Mirza, Jennifer Muro, Jovan Robinson, Brian Tucker, Michael Bhim, Brant Englestein, and Roxanne Paredes

S.H.I.E.L.D. (or is it S.W.O.R.D. now?) head honcho Nick Fury (Samuel L. Jackson) returns from space to handle a sleeper Skrull agent named Gravik (Kingsley Ben-Adir) who has gone rogue and started his own terrorist organisation. He reteams with former associate Agent Hill (Colbie Smulders) and Skrull ally Talos (Ben Mendelsohn) to stop Gravik, with some help from Talos’ daughter G’iah (Emilia Clarke) who has allied herself with Gravik’s cause. If you didn’t know, Skrulls are a shape-shifting alien race who can physically impersonate anyone, not unlike Mystique from the X-Men films.

Secret Invasion is a spy thriller (more Bourne than Bond) that looks like one, even feels like one, but isn’t in any way as clever as it wants you to think it is. There is a huge potential here to create a very gripping espionage tale where literally anyone could be a Skrull in disguise, but because of budgetary reasons and one hand-waiving excuse, a Skrull needs to remain in one identity for long durations, which is pretty baffling since some Skrull characters here are literally walking about with their most identifiable facade for any covert operatives to easily spot and pick them up or take them out. With that kind of ability, I’d be changing into multiple identities at all times and be virtually impossible to find. I know it makes Skrulls a little overpowered, but I’m sure there are clever solutions that can be concocted to level the playing field, e.g. a Skrull detector of some sort, or just Fury using his wits to sniff out imposters. Instead, what we have here is a weak spy series with a lot of logical problems that they didn’t even bother to hide with great production values, which it also didn’t have. The script was also pretty dire - some of the most cringey dialogues I’ve ever listened to. The series also felt like it had forgotten to edit its footages, with some weird reactions and movements from actors that should have been trimmed away. Like there’s one moment where the President of the United States (Dermot Mulroney) made an odd, out-of-place grunt, or when Fury was pointing his gun at someone and his other arm just briefly flailed about for no reason at all. I suspected that they were forced to artificially extend the series to six episodes and didn’t have enough coverage for it. There is also another big issue that I had with the series that I will rant about in the spoiler section below.

The only saving grace is the cast. Jackson is the reason to watch this, and Olivia Coleman stole every scene she was in as a British clandestine operative Sonya Falsworth. Ben-Adir also happens to be in the Barbie movie that is currently in theatres, and it’s interesting that we get to see an actor doing two very different roles in the same span of time. I enjoyed Mendelsohn, Clarke and Smulders, but their roles are criminally limited.

I would only recommend this for die-hard MCU followers. This one is easily the weakest of the Marvel streaming entries to date.

I HAVE ONE SPOILER-Y GRIPE

Here’s my gripe: Fridge-ing Maria Hill and also Talos. But it’s not really just the idea of it, but the execution, no pun intended. These are pretty important figures in Fury’s world for decades and you’d expect a lot more care in the way their deaths had been handled, and provide a more satisfying dramatic impetus for Fury to stem out Gravik and his operations. But there’s just no impact being felt from their deaths, with a pretty nonchalant Fury who seemed strangely ambivalent towards the abrupt departures of his most trusted allies. Just a few shots of Fury getting, er, furious or upset would have been enough, but all we got were a bit of frowning and grimacing. It’s either an odd creative choice, or (I really hate to say this but) just plain ineptitude.

The Mandalorian, Season 3 (Disney+ Series)

★★★★★

Massive Spoilers

Directors: Rick Famuyiwa, Rachel Morrison, Lee Isaac Chung, Carl Weathers, Peter Ramsey, Bryce Dallas Howard

Writers: Jon Favreau, Noah Kloor, Dave Filoni, George Lucas

Reading how people are complaining about The Mandalorian Season 3’s final episode, their hearts must be frozen cold to be able to idly dismiss one of the greatest Star Wars battles ever put onscreen involving Mandalorians and Stormtroopers with jetpacks, or that they felt nothing when Bo Katan charges forward with the Darksaber in hand alongside the Armorer and dozens of Mandalorians behind them. Their souls must be made of rock if it mattered not to them that the three deadly Praetorians who dispatched Paz Vizsla last episode were hewing down IG12 with Grogu in it while the blast doors closed behind a wounded Din Djarin who could only watch in horror.

But my favorite moment of the episode wasn’t even any of these, or Bo Katan fighting a Beskar-ed Moff Gideon, or Din going full John Wick on a bunch of Stormtroopers with just a f***ing dagger, or even when Grogu saved Din and Bo with the Force while his emotionally soaring theme played in the background. No, the scene I loved the most, that got me all welled up, was during the initiation scene at the Living Waters of Mandalore, when Din finally, officially adopts Grogu as his son. The orphan who lost his family now becomes the father of another. It didn’t happen in this episode, but I’m looking forward to the upcoming one where he no longer calls Grogu “kid”, but “son”.

Stay bitter and aloof all you want. Feel proud of your refined cinematic palate that The Mandalorian somehow failed to appease. Pick the series apart for its plot holes, lack of logic, and cameos of people you detest to your heart’s content. But I will continue to enjoy the heck out of the 24 glorious episodes of the best, most faithful, exciting and heartwarming Star Wars show since the original trilogy, and more if we’re lucky. This IS Star Wars. This IS the way.

Resident Evil (Netflix series)

★★★★

Directors: Rachel Goldberg, Bronwen Hughes, Rob Seidenglanz, Batan Silva

Writers: Andrew Dabb, Jeff Howard, Tara Knight, Garett Pereda, Mary Leah Sutton, Shane Tortolani, Lindsey Villarreal, Kerry Williamson

Resident Evil is the latest adaptation of the super popular “survival horror” video game series that has spawned numerous movies as well, including the one just released in November last year. Confusingly, this series isn’t connected to that one, or the Milla Jovovich films. I guess everyone’s into the multiverse game now. No, I’m kidding. This one doesn’t have a multiverse thing attached to the story. I hope not.

The good: Unlike the film franchises, this one has a team who actually knows how to make a proper show. The story’s a lot more sophisticated, the performances are top notch from most of the cast, particularly Lance Reddick, Ella Balinska and the two young actors Tamara Smart and Siena Agudong. Despite having the same far fetched elements of the game, including all the weird science lab monsters that evil Umbrella Corporation could conjure, the show treats the story very seriously. There are quite a few exciting, pure horror set pieces to enjoy, if you can look past the occasional giant monsters and one out-of-nowhere gunfu sequence that reeked of a studio executive’s mandate, even though I liked it. For the uninitiated, this is a pretty high-quality-looking sci-fi horror streaming series that has a bizarre but passable post-apocalyptic zombie storyline.

My one big complaint is that it doesn’t “feel” like Resident Evil. Although this show is far superior than last year’s film adaptation in every way, I have to admit that the film is a lot more faithful to the game than the series. The games at their core are really haunted house stories with sci-fi horror elements, with the zombie horde forcing players to go deeper into a labyrinthian mansion to find a way to escape. The game (made by Japanese developers) also has a strong gun fetish, providing players with a large assortment of semi-automatics, machines guns, and grenade launchers to kill monsters with. It’s an ASMR of cartridge reloads and guns cocking. None of the adaptations have been able to capture this unique blend, including this one.

Originally published on my Facebook page, here.

Obi-Wan Kenobi (Disney+ series)

★★★1/2

No Spoilers

Directed by Deborah Chow

Writers: Joby Harold, Hossein Amini, Stuart Beattie, Hannah Friedman, Andrew Stanton

Obi-Wan Kenobi is a 6-episode series on the Disney+ streaming service that tells the story of the titular Jedi Knight ten years after the events in Star Wars Episode 3: Revenge of the Sith, and several years before the story in Episode 4: A New Hope begins. The Star Wars films are heavily referenced in this show, so prior experience with the Star Wars films, or at least Episodes 1 to 3 will be beneficial towards your enjoyment of this series. Since you need to be subscribed to Disney+ to watch this series anyway, every Star Wars films will be available to you on the channel to catch up on. (I can confirm that the animated series and spin-offs are not mandatory viewings, though there are minor references.) Mild spoilers from hereon if you have not seen the films.

After the execution of Order 66, Jedi Knight Obi-Wan Kenobi (Ewan McGregor) has gone into hiding on Tatooine for the last ten years while keeping an eye on a young Luke Skywalker from afar. An unexpected call from former ally Senator Bail Organa (Jimmy Smits) prompted Kenobi to abandon his post to conduct a search and rescue for a very important person. Hot on his trail are the Inquisitors, Jedi hunters trained by Darth Vader (Hayden Christensen) himself.

After having gone through all nine Star Wars films, and not even counting the spin-offs and other Disney+ series, I can finally say that I’ve surrendered myself entirely to the unending plot holes and continuity errors in the saga. There have been so many of them that it’s pointless to get upset but just roll with it. The Obi-Wan series might just be the biggest offender of the bunch; creating many situations and character interactions that jar with future events that have already been featured in earlier films or series. If you’re a stickler for such things, you’re going to have a field day with this one.

It also suffers from a bit of bloat, especially in the first three episodes. They could have made this a flab-free feature-length film by trimming down or eliminating certain scenes.

Some of you thought the action was bad, but I thought they were ok. What caught my attention more were the strange moments when characters could have easily overcome obstacles but didn’t, but it really depends on how much of it that you noticed. For example, the guard post thing completely went over me until I saw the memes, though I’d argue that architectural and design flaws are part and parcel of the Star Wars universe.

However, if you can put all that aside, there are loads to like and enjoy about Obi-Wan Kenobi - The Series. Ewan McGregor is in great form, reprising the role of Obi-Wan Kenobi. He gets a lot more opportunities to flaunt as his character has more emotional and powerful scenes than in any of the films. I wished it was the same for Hayden Christensen, but Anakin is more of a cameo here. It is Vader that got more of the screen time, and he dominates every scene he’s in. It’s great to hear James Earl Jones’ menacing voice again, intoning new lines. Vader shares villain duties with new character Reva (Moses Ingram), an Inquisitor who hunts Obi-Wan for an unclear agenda. She is a fascinating character in retrospect, but was unfairly maligned by impatient viewers who saw each episode as they were released weekly. An older, more experienced actor could have done the role better, but Ingram did a satisfactory job - it wasn’t the train wreck fussy fans have been complaining about. Her subplot is necessary because it helps add a little intrigue and mystery into a show where we already know where the other main characters’ stories are going. Joel Edgerton and Bonnie Piesse were given more than just glorified cameos as Owen and Beru, and I really liked what they did with these characters. Plus, that Owen meme is especially exquisite. There are other spoiler-ish character appearances which I will not mention here, but what was misunderstood as fan pandering has become very endearing moments after the last episode’s credits rolled, and I really liked all of them and their performances.

Most importantly though is how they handled the central conflict between Obi-Wan and Anakin/Vader, and I have to say it was fantastically realised. I like how there wasn’t an ounce of fat in the script. Every line was designed for maximum emotional impact. There were callbacks, but there were also resolutions. The caveat here is that the emotional resonances wouldn’t be as impactful to newcomers as it would to ardent followers of the films.

I would still recommend this as a must-watch for Star Wars fans, but passers-by might be baffled by the reception that this average episodic Disney+ actioner is getting. The strength of the show relies very heavily on your affinity towards the Star Wars films, but fans will find it emotionally rewarding.

Originally published on my Facebook page, here.