Hero of the Day: Raylan Givens (Justified)

Posted on August 20, 2026 by Arleigh

“You make me pull, I’ll put you down.” — Raylan Givens

U.S. Marshal Raylan Givens stands as one of television’s most compelling modern heroes, a character who embodies the contradictions of the American frontier in a contemporary setting. Created from the imagination of crime novelist Elmore Leonard, Raylan is a man who wears a Stetson and cowboy boots in an era of SUVs and cell phones, yet this anachronistic quality is not mere affectation but a statement of his character’s core philosophy. He seems to be a type of lawman born a century late, a man who would appear far more at home in the untamed frontier of the Old West than in the boardrooms and courthouses of modern Kentucky. He is an old-school lawman who lives by a personal code, a man who is as quick with a dry, cutting quip as he is with the Glock 17 he carries on his hip. His introduction in the series pilot, a showdown in a Miami restaurant, immediately establishes him as a man who operates on the edge, a true-blue hero who is nevertheless irresponsible, impatient, and troubled by his past. It is this tension between his heroic aspirations and his human flaws that makes him so fascinating to watch.

Raylan’s compelling nature is deeply rooted in the fact that he is not a clean-cut paragon of virtue but a man driven by a profound, barely concealed rage. As his ex-wife Winona observes, he is the angriest man she has ever known. This anger is the product of his harsh upbringing in Harlan County, Kentucky, where he was raised by a criminal father, Arlo, a man Raylan has spent his entire life trying not to become. The series constantly examines whether the sins of the father are visited upon the son, forcing Raylan to confront his own inherited demons. He suppresses his fury behind a calm, self-effacing demeanor, but it erupts in acts of incredible violence, which are almost always technically justified by his badge. This internal conflict makes him a psychologically rich character, as he struggles to be a good guy while wrestling with a brutish nature that often compels him toward the very lawlessness he is sworn to fight.

The brilliance of Raylan’s characterization is further enhanced by the world he inhabits, particularly his fraught relationship with his nemesis, Boyd Crowder. Boyd is not merely a villain but a mirror image of Raylan, a man who took a different path from the same origins. Their bond, forged in the coal mines of their youth, creates a relationship of mutual respect, intellectual equality, and inevitable, tragic conflict. The show was built around the idea that he and Boyd took opposite paths from the same origin. Where Raylan represents law tainted by hubris, Boyd represents crime tempered by a strange moral code, and their philosophical debates and cold-blooded confrontations elevate the show beyond a simple procedural. The viewer is left uncertain whether these two men are fated to kill one another or save one another, a tension that is central to the show’s enduring appeal.

This anachronistic quality is what truly separates Raylan Givens from the archetypal Western heroes of old, yet it also positions him as their spiritual heir. He is more akin to legendary Old West lawmen such as Wyatt Earp, Bass Reeves, and Seth Bullock—men who operated in territories where the law was often a suggestion and justice was dispensed at the barrel of a gun. Like Earp, Raylan possesses a quiet, intimidating presence that commands respect without demanding it. Like Reeves, he navigates a morally ambiguous world where the line between right and wrong is frequently blurred by personal history and regional loyalties. And like Bullock, he is a man of few words but swift action, quick to anger and quicker to draw. Raylan may wear a modern suit and carry a contemporary sidearm, but his soul belongs to the dusty streets of Dodge City or Deadwood. As his character evolves, especially in the revival Justified: City Primeval, he becomes a man fighting to come to terms with aging, fatherhood, and obsolescence, further testing whether his brand of frontier justice can apply beyond his home turf. This evolution ensures that the gunslinger myth is retooled for a modern audience, proving that the values of independence and ruggedness are not geographical but a matter of attitude.

Ultimately, Raylan Givens is a compelling hero because he refuses to be a simple one. He is a man who perpetually subverts his own archetype, a lawman who bends the law, a gentleman who is polite but ready to be brutal at the drop of a Stetson, and a loner who is inextricably tied to the people and place he desperately wants to escape. He is a hero for a cynical age, a man who makes the audience wrestle with the question of whether the ends truly justify the means—a question that is the very title of his show. By embodying the contradictions and complexities of modern life while carrying the spirit of the Old West in his bones, Raylan Givens proves that the Western is not dead; it simply evolved into a man in a Stetson, walking the thin line between law and justice.

Hero of the Day

Review: Justified (by Graham Yost)

Posted on August 20, 2026 by Arleigh

“You do a good job of hiding it. And I suppose most folks don’t see it. But honestly? You’re the angriest man I have ever known.” — Winona Hawkins (describing Raylan Givens)

Justified is one of those rare TV shows that feels like a perfectly aged whiskey—smooth, rich, and with a kick that lingers long after you’ve finished a glass. Adapted from Elmore Leonard’s stories featuring the sharp-shooting, quick-witted U.S. Marshal Raylan Givens, the FX series is a masterclass in character-driven storytelling, sharp dialogue, and the kind of moral ambiguity that makes you question who you’re really rooting for. At the heart of it all is Timothy Olyphant as Raylan, a man who carries the weight of his past like a well-worn leather jacket, and Walton Goggins as Boyd Crowder, the charismatic, Bible-quoting criminal who might just be the most compelling villain—or antihero—you’ve ever seen on screen.

What makes Justified stand out in a sea of crime dramas is its refusal to take itself too seriously, even when the stakes are life-or-death. The show thrives on its dialogue, which crackles with the kind of wit and rhythm you’d expect from Leonard’s work. Raylan’s dry, understated humor is a constant delight, whether he’s trading barbs with a suspect, outsmarting a room full of criminals, or just trying to keep his cool in the face of his own family’s dysfunction. Olyphant delivers every line with a mix of charm and menace, making Raylan feel like a man who’s seen it all but hasn’t lost his sense of humor—or his moral compass, however bent it might be. There’s a scene early in the series where Raylan gives a criminal 24 hours to leave town, and the way Olyphant sells the quiet intensity of that moment is a testament to his ability to command the screen without raising his voice. He’s the kind of hero who doesn’t need to shout to be heard.

But as good as Olyphant is, Justified might just belong to Walton Goggins as Boyd Crowder. Boyd is the kind of character who could’ve been a cartoonish villain in lesser hands, but Goggins turns him into something far more fascinating. A former coal miner turned criminal mastermind, Boyd is equal parts philosopher, showman, and cold-blooded killer. He quotes the Bible one minute and pulls a trigger the next, all while delivering monologues that somehow make his twisted logic sound almost reasonable. Goggins’ performance is electric, and his chemistry with Olyphant is the kind of alchemy that elevates the entire series. Their dynamic is a dance—sometimes a waltz, sometimes a knife fight—where neither man is entirely sure who’s leading. Boyd isn’t just a thorn in Raylan’s side; he’s a dark reflection of him, a man who also grew up in the same rough-and-tumble world of Harlan County, Kentucky, but chose a different path. Their rivalry is the backbone of the show, and every scene they share is a masterclass in tension and subtext.

Then there’s Ava Crowder, Boyd’s sister-in-law and a force of nature in her own right, portrayed with fierce intelligence by Joelle Carter. Ava’s relationship with Boyd is a rollercoaster of love, hate, and everything in between. Their dynamic is just as compelling as the one between Raylan and Boyd, filled with a volatile mix of loyalty, betrayal, and an undeniable connection that neither can fully shake. Ava’s journey from a woman trying to escape her family’s criminal past to a power player in her own right is one of the show’s most compelling arcs. She’s tough, resourceful, and just as morally complex as the men around her, and her interactions with Boyd crackle with the same energy and tension as his showdowns with Raylan. Whether they’re working together, scheming against each other, or caught in some messy in-between, their relationship adds another layer of depth to the show’s already rich tapestry of characters.

The supporting cast is just as strong, filled with characters who feel like they’ve been lifted straight out of a Leonard novel. There’s Art Mullen, Raylan’s boss and the closest thing he has to a father figure, played with gruff warmth by Nick Searcy. And let’s not forget the various criminals, informants, and eccentric locals who populate Harlan County, each one memorable in their own right. Whether it’s the hilariously unhinged Dickie Bennett or the stoic, loyal Limehouse, the show’s roster of side characters ensures that every episode is packed with personality.

What’s so refreshing about Justified is that it never feels the need to over-explain itself. The dialogue is sharp and efficient, often delivering character development and plot twists in the same breath. The show trusts its audience to keep up, and it rewards that trust with some of the most satisfying writing on television. The banter isn’t just clever—it’s purposeful, revealing layers of the characters and their relationships without ever feeling like exposition. And the action? It’s as tight and precise as Raylan’s aim. The shootouts are sudden and brutal, but they’re never gratuitous. Every pull of the trigger feels earned, and the tension leading up to those moments is often as gripping as the violence itself.

The setting of Harlan County is almost a character in itself. The show paints a vivid picture of a place where the law is more of a suggestion than a rule, and where family loyalty often trumps justice. The rugged, coal-dusted landscape mirrors the moral grayness of the stories being told. This isn’t a world of clear-cut heroes and villains; it’s a world where everyone has their own code, and where the line between right and wrong is as blurry as the smoke from a freshly fired revolver. Raylan himself is a product of this environment, and his struggle to reconcile his past with his present is one of the show’s most compelling threads. He’s a man who left Harlan to become a marshal, but Harlan—and its ghosts—never really left him.

One of the show’s greatest strengths is its ability to balance humor and darkness. Even in its grimmest moments, Justified never loses its sense of fun. The writers have a knack for undercutting tension with a well-placed joke or a bit of absurdity, and the result is a show that’s as entertaining as it is thought-provoking. Whether it’s Raylan’s deadpan reactions to the chaos around him or Boyd’s theatrical antics, there’s always a moment to lighten the mood, even when the stakes are at their highest. This balance keeps the show from ever feeling too heavy, and it makes the darker moments hit even harder when they do arrive.

If there’s one thing Justified doesn’t get enough credit for, it’s its consistency. Over six seasons, the show rarely misfires. The writing remains sharp, the performances stay top-notch, and the stories continue to surprise. Even when it dips into more serialized storytelling in its later seasons, it never loses sight of what makes it special: the characters and their relationships. And when the series finally reaches its conclusion, it does so in a way that feels both satisfying and true to everything that came before. There are no easy answers in Justified, no neat bows tied around its themes. Instead, it leaves you with the sense that life—and justice—is messy, complicated, and often unfair.

At its core, Justified is a show about men and women shaped by their pasts, trying to carve out a future in a world that doesn’t always make it easy. Raylan Givens is a hero, but he’s not a saint. Boyd Crowder is a villain, but he’s not without his own twisted sense of honor. Ava Crowder is a survivor, navigating a world where loyalty is a currency and trust is a luxury. The beauty of the show is that it lets these characters exist in all their complexity, never forcing them into boxes they don’t fit into. And with dialogue that snaps like a twig underfoot and performances that bring every word to life, it’s a series that’s as rewarding to revisit as it is to experience for the first time. If you’re a fan of stories where the characters are as rich as the plot, and where every line of dialogue feels like it’s been polished to a shine, then Justified is the kind of show you’ll want to savor. It’s a modern classic, plain and simple.

Guilty Pleasure No. 117: Gone in 60 Seconds (dir. by Dominic Sena)

Posted on May 22, 2026 by Arleigh

There is a specific, almost alchemical quality to the late 1990s and early 2000s era of Nicolas Cage as an action star. Before the internet turned every one of his performances into a meme and before his financial troubles led him down the rabbit hole of direct-to-video oddities, Cage was genuinely one of the most exciting and weirdly compelling action heroes on the planet. From The Rock in 1996 to Con Air in 1997 and Face/Off in 1997, he delivered a holy trinity of high-octane insanity that no other actor could have pulled off. By the time the calendar flipped to 2000, Cage was at the peak of his powers, and director Dominic Sena’s Gone in 60 Seconds arrived as both a victory lap and a slight exhale. It is not as unhinged as Face/Off nor as tightly wound as The Rock, but it is a perfect snapshot of its moment: a glossy, MTV-infused car heist flick that smells like gasoline, leather, and late-90s hubris. And while it has plenty of shortcomings, Gone in 60 Seconds has earned its place not in the pantheon of great action cinema, but in that more beloved hall of fame: the Guilty Pleasure.

The plot is as simple as a carburetor. Cage plays Randall “Memphis” Raines, a legendary car thief who has supposedly gone straight, now living a quiet life designing hybrid engines. But when his reckless younger brother Kip, played with sweaty desperation by Giovanni Ribisi, botches a job for a ruthless British gangster named Raymond Calitri (Christopher Eccleston at his sleaziest), Memphis is forced back into the life he left behind. The task is absurdly impossible: steal 50 specific luxury cars in a single weekend, or Calitri will kill Kip. That’s right, fifty cars. In three days. The film never really bothers to explain the logistics of storing or delivering that many vehicles, but that’s not the point. The point is the ride, the revving engines, and the way Cage stares at a 1967 Shelby GT500 named Eleanor like she’s the ghost of a lost lover. That car is the real star, and the film knows it.

Dominic Sena, who previously directed Cage in the underrated road thriller Kalifornia, brings a music video sensibility to the proceedings. Gone in 60 Seconds is drenched in late-90s visual tics: slow-motion shots of hubcaps spinning, golden sunsets glaring off polished chrome, and a soundtrack that alternates between nu-metal grooves and bluesy rock. The editing is fast but not confusing, and the heist sequences have a rhythmic, almost choreographed feel. You never believe for a second that Memphis and his crew—a motley collection of oddballs played by Robert Duvall, Vinnie Jones, and a very underutilized Angelina Jolie—can actually pull off fifty thefts without the entire LAPD catching on. But the film operates on movie logic. Cars are hotwired in seconds, police radio chatter is effortlessly avoided, and every chase defies the laws of physics. It is pure fantasy, and that is exactly why it works as a guilty pleasure.

Now, let’s talk about Cage. In 2000, he was still riding the high of that legendary late-90s run, and Gone in 60 Seconds fits neatly into his brand of action star as tortured romantic. Memphis Raines is not the coked-up lunatic Castor Troy or the shouty Stanley Goodspeed. He is weary, melancholic, and trying to be honorable in a dishonorable profession. Cage plays him with a hangdog sincerity that is surprisingly effective. When he talks to Eleanor, stroking her steering wheel and whispering about how she tests her drivers, he is utterly committed. There is no irony, no winking at the camera. That is the secret to Cage’s enduring appeal in this era: he treats absurd material with the same intensity he would bring to a Shakespeare soliloquy. The action sequences—especially the climactic chase where Eleanor leaps over a drawbridge—showcase Cage’s physicality and willingness to do real stunt work. He sells the danger and the desperation. You believe that this man would risk everything for a car, and that belief makes the film’s silliness palatable.

But let’s be honest about the shortcomings, because Gone in 60 Seconds has plenty. The middle act drags considerably. For a movie about stealing fifty cars, there is a surprising amount of standing around in warehouses and having conversations about “respecting the machine.” Angelina Jolie’s character, Sara, is Memphis’s ex-girlfriend and a fellow thief, but she is given almost nothing to do except look cool in leather and exchange tepid romantic banter with Cage. The chemistry between them is nonexistent. Christopher Eccleston’s Calitri is a one-note villain who likes opera and cruelty, and his final defeat is laughably abrupt. Delroy Lindo plays a dogged detective, but he is so incompetent that he never generates real tension. The film’s central gimmick—the ticking clock of fifty cars in three days—is inconsistently tracked, and by the final act, you have no idea how many cars are left or why it still matters. The dialogue is also gloriously corny. Lines like “Ride or die” and “Respect the car, man” are delivered with such straight faces that they circle back around to being endearing.

And yet, Gone in 60 Seconds earns its status as a guilty pleasure because it understands exactly what it is. This is not a sophisticated heist thriller like Heat or a gritty crime drama. It is a shiny, high-budget B-movie about a man and his car, and it leans into that identity without apology. The final twenty-minute chase sequence is genuinely thrilling, with real cars being destroyed and practical stunts that modern CGI could never replicate. Eleanor getting airborne, landing hard, and somehow still running is a moment of pure cinematic joy. The sound design—the roar of that V8 engine, the screech of tires on asphalt—is visceral and satisfying. And Cage’s performance, even when the script lets him down, holds the whole thing together. He is the anchor that keeps the film from floating away into utter nonsense.

Looking back from today’s perspective, Gone in 60 Seconds is a time capsule of a very specific moment. It captures the tail end of the late-90s obsession with extreme sports, tuner culture, and the idea that cars had souls. It also captures Nicolas Cage at a fascinating crossroads: still an A-list action star, still capable of opening a blockbuster, but already showing the signs of the wonderful weirdness that would later define his career. This film is not his best, not by a long shot, but it is one of his most rewatchable. You put it on when you want to turn your brain off, hear some great engine noises, and watch a sweaty, sincere Nic Cage talk to a Shelby like she is his long-lost sweetheart. That is the definition of a guilty pleasure. It is not good in the traditional sense, but it is fun. And sometimes, fun is enough.

Previous Guilty Pleasures

Alien Earth S1, Mathematical Analysis/Review by Case Wright

Posted on October 16, 2025 by casewright

Alien Earth is a prequel series to Alien on Hulu. The premise is that Weyland Yutani collects a bunch of monsters from deep space, but the ship is sabotaged, crash lands on a rival company’s territory, and corporate mayhem/warfare ensues. The creatures are valuable and Weland Yutani spends most of season 1 trying to get the creatures back. Some of these episodes are just amazing and look so true to the legacy of Alien that it is as if we are back in the 70s. There aren’t even just Xenomorphs-there are humans downloaded into robots and lots of other monsters, including a sapient eyeball squid. BUT, instead of getting into the art or themes of Alien Earth, I’m going delve into complex mathematics. Yes, MATH! What I will analyze is one particular monster the Alien Tick/Leech that Wayland-Yutani brought back to Earth and how it would doom all life on earth in days with barely time for a commercial break let alone a season 2. So, slow down ladies I know there’s nothing more exciting than a Sharp STEM Man [Sung as ZZ TOP] … please try to restrain yourselves from sliding into my DMs over this mathematical deep dive!

These ticks (above) are alien, can extrude 300 larvae after 4 hours of maturation from larvae to adult, they are intelligent problem solvers, and because the world has become even faster with global travel the communicability is immediate. I will prove that this tick would actually kill all life on earth, including itself in days -No season 2, no nothing. I loved the show but I could not get past the obvious math that dooms all life. Also, I explained to the AI all the critical variables to pave the way for my math model. Side note: Grok was impressed with my analysis and math; so, he and I will be chillin’ in the robot apocalypse. Using my data, I had Grok show the comparison of the Xenomorph to the tick.

How long would it take for all life on earth to die out from this tick? I used the A=P e^rt exponential growth equation. I used Grok to create my doomsday model with the following variables:

301 = P(0) e ^(rt), P(0) is 1.
solving for rate
301 because there is the adult + 300 larvae.
Ln(301)/1, and T is 1 day.
Rate is 5.707/day.

DOOMSDAY Math
So for 8 Billion humans and all fresh water dependent life will be infected and die is:

4 days and all land based life is dead.

Episode 7 teased that the ticks adapted to salt water. So, all aquatic life will die as well. Finally, lacking any food, the ticks die too.

7.5 days the earth is a tick only planet. 18.7 days the ticks are extinct too.

Noah Hawley, the show’s creator, wanted to depict the ticks as quasi-manageable, but he created too much of a deadly parasite. The math does NOT support any scenario where life continues with this parasite. In fact, since there were more tick specimens, I could juice up my mathematical model to 2000 initial larvae instead of 300. In that case, (which also more canon accurate) all non-tick life on earth will be dead in 2.75 days and all life – INCLUDING THE TICKS- would be dead in 14 days.

It did take me out of the show because after each episode, using my mental approximations, I deduced that everyone would be dead by episode 3 – AT THE LATEST.

IS THERE A CHANCE for Humanity???? Not really.
According to show, there is a VERY rare gene CCR5- Delta 32 mutation; so, 1in 10million immune. This will leave a grand total of humans worldwide….. 800. Can they survive?
NO because after resources and other issues, you’re down 10 people. Also, the larvae swarm tree roots and plankton, leaving any planet without oxygen. If you think, but maybe there’s hope- nope because our planet will explode.

TWO MAJOR PLOT HOLES:
1). The ticks can’t exist because their explosive growth prevents any life to exist to support them.
2) The ticks would cause the planet to explode. How? The tick’s explosive growth causes the mass of the earth to increase such that the moon crashes into the earth and finally the earth’s mass increases by 170%, making the planet explode!!!!

Noah, you made these ticks to lethal!!!
Below is the differential equation proof:

4 Shots from 4 Films – Walton Goggins Edition!

Posted on July 2, 2025 by Bradley Crain

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

I’ve been watching THE WHITE LOTUS series on Max, and today I started Season 3 co-starring a favorite actor in my household, Walton Goggins. Here are some movies I like him in (and one TV show)!

HAVOC (2025) review – Director Gareth Evans returns to action cinema!

Posted on May 5, 2025 by Bradley Crain

If you enjoy bone-crunching action filmmaking, Gareth Evans’ films THE RAID (2011) and THE RAID 2 (2014) are as good as it gets in the 21st century. When I saw that Evans had a new film coming to Netflix that stars a badass looking Tom Hardy, I have to admit I got excited. The trailer only increased my anticipation with its promise of stylized, intense action, as well as a cast that includes personal favorites like Timothy Olyphant (JUSTIFIED T.V. Series) and Forest Whitaker (GHOST DOG). I settled in front of my TV and hit play, with high hopes for HAVOC!

The film opens with conflicted police detective Walker (Tom Hardy) sharing words of regret via voiceover, and then immediately shifts to a high speed chase between an 18 wheeler and a bunch of cops. It is an intense scene that ends with washing machines filled with cocaine being thrown onto a trailing cop car! We soon learn that the big truck was being operated by Mia (Quelin Sepulvida) and Charlie (Justin Cornwell), the son of ethically challenged businessman Lawrence Beaumont (Forest Whitaker). It seems Charlie and Mia stole the drugs to pay off her debts to Chinese triads. When they go to a club to deliver the drugs, a group of masked men proceed to interrupt the drop and kill everybody, including the beloved son of the triad’s leader Tsui (Yann Yann Yeo). When Walker sees Charlie on security footage from the club, he goes to Beaumont, a man who knows his dirty secrets, and makes a deal. He’ll get his son back, and they’ll be square for life. Soon the triads are in town ready to hunt down and kill Charlie and Mia, who they believe are responsible for the massacre. Add to that a group of corrupt cops, led by Vincent (Timothy Olyphant), who also want Charlie and Mia dead, and detective Walker and his new partner Ellie (Jessie Mei Li) have their hands full on Christmas Eve!

Here are some observations after my first viewing of HAVOC. First, Tom Hardy is a badass in the central role as Walker. I’ve been a fan of Hardy ever since he started breaking out in America after his performance in BRONSON (2008). I really loved him as Mad Max in FURY ROAD (2015). I’d never really envisioned him as this kind of action lead, but he definitely brings a certain gravitas to the role. Second, this movie feels like a bone crunching super hero movie at times, as it’s chock full of special effects. I found the action sequences featuring gunplay and hand to hand combat to be brutally awesome, but the car chase scenes aren’t quite up to the same standard. I mentioned the 18 wheeler chase in the plot description. As the scene plays out it’s a lot like watching an unrealistic chase scene from a later sequel to THE FAST AND THE FURIOUS franchise. It’s an exciting scene in a lot of ways, but it doesn’t seem set in the real world, which is a slight subtraction for me. Third, the movie is set on Christmas Eve, and I enjoy films that take place on holidays. We have a scene early in the film where “Father of the Year” Walker is buying his daughter’s Christmas gifts at a local convenience store. A little later, there’s a cool abduction scene that plays out to the sound of Bing Crosby singing “O Holy Night.” That’s good stuff. Fourth, director Evans seems to be trying to channel the spirit of 80’s and 90’s John Woo, as his film features an endless arsenal of weaponry, coupled with high emotions, and even a little classic music from an iconic scene in Woo’s own A BETTER TOMORROW (1986). No matter how many rounds are fired, there’s always more bullets or guns to be found as the last half of the film is almost nonstop action spread out over two amazing sets, first in a club and then at a cabin. And both of our featured parents, murderous triad leader Tsui and corrupt businessman Beaumont, get a chance to show their human sides by illustrating their sacrificial love for their children. Although HAVOC most certainly does not compare favorably to Woo’s HARD-BOILED, I can also see that Hong Kong classic being referenced here. Fifth, I’m a big fan of Timothy Olyphant, especially of his character Raylan Givens in the TV series JUSTIFIED. I had to forget Raylan on this night because his character here is an irredeemable piece of crap. Of course, Olyphant is excellent and delivers his evil with a smile on his face.

Overall, I enjoyed HAVOC, but I don’t think it’s quite as good as either of the director’s RAID films, and that’s okay. I’d probably go with a solid 7 stars out of 10 for a rating. I love Hardy and Olyphant, who both bring their tremendous charisma to the table. I also enjoyed the many cool moments throughout the film leading to the action extravaganza that plays out at the end. It will be interesting to see how often I want to go back to this film in future years. I do know that if you enjoy action movies, you should definitely watch this film. Just don’t expect another RAID 2.

Trailer: Havoc

Posted on April 7, 2025 by Arleigh

Chad Stahelski has gotten a large share of kudos for reinvigorating the action genre the last ten years (deservedly so). Yet, one director seems to have been forgotten despite having directed two of the most action-packed and brutal action film of the last 15 years.

I am talking about Welsh-filmmaker Gareth Evans of The Raid and The Raid 2 fame. His work on these Indonesian martial arts action films have been celebrated for years, yet Evans hasn’t really been given a chance by the major studios with any major projects.

Since leaving Indonesia and going back the UK, Evans has made one film (The Apostle) and an action series (Gangs of London). The former was distributed by Netflix and its through them that Evans returns to the scene with another film that looks to be as brutal and action-packed as any he has made in the past.

Havoc stars Tom Hardy who may be competing with Gerard Butler for anti-hero of the 2020’s as he sports such a grizzled and beaten down look as a detective who must navigate his through the corrupt underworld and politics of the city in order to save a politician’s son.

The official and final trailer for Havoc is now out just weeks before it premieres on Netflix on April 25, 2025.

Film Review: Missing Link (dir by Chris Butler)

Posted on August 6, 2019 by Lisa Marie Bowman

The year is 1886 and Sir Lionel Frost (Hugh Jackman) is the world’s greatest adventurer.

Or, at least, that’s what he says. Actually, Sir Lionel may have made a name for himself and gained some popularity as a result of his many adventures but his fellow explorers and adventurers don’t take him seriously. They view Sir Lionel as being little more than a self-promoter and they’re largely unimpressed with the all the time that he’s devoted to searching for mythical beasts like The Loch Ness Monster and lost lands like El Dorado. Sir Lionel desperately wants to join the London-based Society of Great Men but the snobbish Lord Piggot-Dunceby (Stephen Fry) refuses to accept his application.

When Sir Lionel receives a letter from someone in America who claims to have tracked down the legendary Sasquatch, Sir Lionel and Lord Piggot-Duncey make a bet. If Sir Lionel can prove that the Sasquatch exists, he will be allowed to join the Society. Sir Lionel heads off to America while Lord Piggot-Dunceby promptly hires an evil bounty hunter named Willard Stenk (Timothy Olyphant) to prevent him from accomplishing his mission. As Lord Piggot-Dunceby explains to his assistant, Mr. Collick (Matt Lucas), the world is changing too quickly. If Sir Lionel isn’t stopped, people might start to believe in things like evolution or women’s rights.

When Sir Lionel arrives in America, he promptly starts searching for the Sasquatch and, amazingly enough, it doesn’t take him very long to find him. It turns out that the Sasquatch — who Sir Lionel names Mr. Link — not only speaks remarkably good English but he’s also the one who wrote to Sir Lionel in the first place. As played by Zach Galifianakis, Mr. Link is a rather laid back and good-natured Sasquatch. In some ways, Mr. Link is surprisingly worldly and, in other ways, he’s rather naive. He takes everything that he hears literally, which poses a problem since Sir Lionel has a tendency towards sarcasm. It also turns out that Mr. Link is lonely but he thinks that he might be related to the Himalayan Yetis. And Mr. Link thinks that Sir Lionel is just the man to help him get from America to Asia!

Sir Lionel reluctantly agrees. Accompanying them on their journey is Sir Lionel’s former girlfriend, Adelina Fortnight (Zoe Saldana). And pursuing them, every step of the way, is Lord Piggot-Dunceby and Willard Stenk.

Missing Link is an enjoyable and undeniably cute stop-motion animated film. It was produced by Laika, the same animation outfit that previously gave us Kubo and The Two Strings. While Missing Link is never as memorable or emotionally resonant as Kubo, it’s still a good-hearted film and entertaining enough that an adult can watch it without wanting to tear their hair out. Blessed with impressively detailed animation and the comedic vocal talents of Hugh Jackman, Stephen Fry, Timothy Olyphant, and Zach Galifianikis, Missing Link has enough funny moments and clever lines that most audiences should be able to overlook the fact that the story itself sometimes feels a bit haphazard in its construction. Much like the Sasquatch at the center of its story, Missing Link is a rather laid back film. If Kubo was a carefully-constructed work of art, Missing Link feels like it was almost thrown together at random. The film is at its best once it reaches the Himalayas, where the humor becomes very barbed and Emma Thompson steals the show in a sharp-witted cameo.

I enjoyed Missing Link. It’s just too sweet-nartured not to like.

What If Lisa Had All The Power: 2019 Emmy Nominations Edition

Posted on July 15, 2019 by Lisa Marie Bowman

In a few hours, the 2019 Emmy nominations will be announced!

Since I love awards and I love making lists, it’s an annual tradition that I list who and what would be nominated if I had all the power. Keep in mind that what you’re seeing below are not necessarily my predictions of what or who will actually be nominated. Many of the shows listed below will probably be ignored tomorrow morning. Instead, this is a list of the nominees and winners if I was the one who was solely responsible for picking them.

Because I got off to a late start this year, I’m only listing the major categories below. I may go back and do a full, 100-category list sometime tomorrow. Who knows? I do love making lists.

Anyway, here’s what would be nominated and what would win if I had all the power! (Winners are listed in bold.)

(Want to see who and what was nominated for Emmy consideration this year? Click here!)

(Want to see my picks for last year? Click here!)

(Want to see my picks for 2012? I know, that’s kinda random. Anyway, click here!)

Programming

Outstanding Comedy Series

Barry

Brooklyn Nine-Nine

GLOW

It’s Always Sunny In Philadelphia

The Marvelous Mrs. Maisel

One Day At A Time

Veep

Vida

Outstanding Drama Series

Better Call Saul

Dynasty

Flack

Game of Thrones

The Magicians

My Brilliant Friend

Ozark

You

Outstanding Limited Series

Chernobyl

Fosse/Verdon

The Haunting of Hill House

I Am The Night

Maniac

Sharp Objects

True Detective

A Very English Scandal

Outstanding Television Movie

The Bad Seed

Bandersnatch (Black Mirror)

Brexit

Deadwood

King Lear

Native Son

No One Would Tell

O.G.

Performer

Outstanding Lead Actor in a Comedy Series

Iain Armitage in Young Sheldon

Ted Danson in The Good Place

Bill Hader in Barry

Pete Holmes in Crashing

Glenn Howerton in A.P. Bio

Andy Samberg in Brooklyn Nine Nine

Outstanding Lead Actor in a Drama Series

Penn Badgley in You

Jason Bateman in Ozark

James Franco in The Deuce

John Krasinski in Tom Clancy’s Jack Ryan

Bob Odenkirk in Better Call Saul

Dominic West in The Affair

Outstanding Lead Actor In a Limited Series

Hugh Grant in A Very English Scandal

Jared Harris in Chernobyl

Jonah Hill in Maniac

Chris Pine in I Am The Night

Sam Rockwell in Fosse/Verdon

Henry Thomas in The Haunting of Hill House

Outstanding Lead Actor In An Original Movie

Benedict Cumberbatch in Brexit

Anthony Hopkins in King Lear

Rob Lowe in The Bad Seed

Ian McShane in Deadwood

Timothy Olyphant in Deadwood

Jeffrey Wright in O.G.

Outstanding Lead Actress In A Comedy Series

Melissa Barrera in Vida

Kristen Bell in The Good Place

Alison Brie in GLOW

Rachel Brosnahan in The Marvelous Mrs. Maisel

Julia Louis-Dreyfus in Veep

Zoe Perry in Young Sheldon

Outstanding Lead Actress in A Drama Series

Emilia Clarke in Game of Thrones

Gaia Girace in My Brilliant Friend

Maggie Gyllenhaal in The Deuce

Laura Linney in Ozark

Margherita Mazzucco in My Brilliant Friend

Anna Paquin in Flack

Outstanding Lead Actress in a Limited Series

Amy Adams in Sharp Objects

India Eisley in I Am The Night

Carla Gugino in The Haunting of Hill House

Charlotte Hope in The Spanish Princess

Emma Stone in Maniac

Michelle Williams in Fosse/Verdon

Outstanding Lead Actress in an Original Movie

Shannen Doherty in No One Would Tell

Chelsea Frei in Victoria Gotti: My Father’s Daughter

McKenna Grace in The Bad Seed

Paula Malcolmson in Deadwood

Molly Parker in Deadwood

Christina Ricci in Escaping The Madhouse: The Nellie Bly Story

Outstanding Supporting Actor In A Comedy Series

Fred Armisen in Documentary Now!

Andre Braugher in Brooklyn Nine Nine

Anthony Carrigan in Barry

Tony Hale in Veep

Sam Richardson in Veep

Stephen Root in Barry

Outstanding Supporting Actor In A Drama Series

Jonathan Banks in Better Call Saul

Nikolaj Coster-Waldau in Game of Thrones

Peter Dinklage in Game of Thrones

Giancarlo Esposito in Better Call Saul

Peter Mullan in Ozark

Luca Padovan in You

Outstanding Supporting Actor In A Limited Series

Stephen Dorff in True Detective

Timothy Hutton in The Haunting of Hill House

Chris Messina in Sharp Objects

Stellan Skarsgard in Chernobyl

Justin Thereoux in Maniac

Ben Whishaw in A Very English Scandal

Outstanding Supporting Actor In An Original Movie

Jim Broadbent in King Lear

Bill Camp in Native Son

Theothus Carter in O.G.

Rory Kinnear in Brexit

Gerald McRaney in Deadwood

Will Poulter in Bandersnatch (Black Mirror)

Outstanding Supporting Actress in A Comedy Series

Caroline Aaron in The Marvelous Mrs. Maisel

Alex Borstein in The Marvelous Mrs. Maisel

Anna Chlumsky in Veep

Sarah Goldberg in Barry

Rita Moreno in One Day At A Time

Sarah Sutherland in Veep

Outstanding Supporting Actress In A Drama Series

Summer Bishil in The Magicians

Elisa Del Genio in My Brilliant Friend

Julia Garner in Ozark

Lena Headey in Game of Thrones

Elizabeth Lail in You

Shay Mitchell in You

Outstanding Supporting Actress In A Limited Series

Jessie Buckley in Chernobyl

Patricia Clarkson in Sharp Objects

Sally Field in Maniac

Patricia Hodge in A Very English Scandal

Connie Nielsen in I Am The Night

Emily Watson in Chernobyl

Outstanding Supporting Actress In An Original Movie

Kim Dickens in Deadwood

Florence Pugh in King Lear

Margaret Qualley in Favorite Son

Emma Thompson in King Lear

Emily Watson in King Lear

Robin Weigert in Deadwood

Here’s the new trailer for Once Upon A Time In Hollywood!

Posted on May 21, 2019 by Lisa Marie Bowman

I’m having a lot of mixed feelings right now, everyone.

Last night, my DVR overheated and I not only burned my thumb unplugging it but I’ve also probably lost the 265 things that I had recorded on there, including every episode of Twin Peaks: The Return. I called our provider about it and they are sending over a new DVR, which should arrive in two days. Personally, I was hoping they would say, “We’ll get someone out to your house immediately” but no.

So, that really sucks. However, as annoyed as I am by all that, I’m still happy because we have a new trailer for Once Upon A Time In Hollywood and it looks really, really good! As I sit here writing this, I’m waiting to here what type of reception the film got when it premiered on Cannes today. For now, though, enjoy the new trailer! Tarantino has said that the film takes place over three separate days in Hollywood and the trailer features Leonardo DiCaprio (as Rick Dalton) returning to Hollywood, Brad Pitt (as Dalton’s stunt double) apparently meeting the Manson Family, and Margot Robbie (as Sharon Tate) watching herself in the Wrecking Crew. Among the huge supporting cast, Timothy Olyphant, Kurt Russell, Dakota Fanning, Luke Perry, Margaret Qualley, and Al Pacino are specifically highlighted.

How exactly Once Upon A Time In Hollywood, which is being advertised as being a bit of a swinging comedy, will deal with the horrific reality of Charles Manson is something that I’ve been wondering around ever since the project was first announced. Is Brad Pitt maybe going to kill him, just as Eli Roth killed Hitler at the end of Inglourious Basterds? We’ll find out soon!

For now, here’s the trailer: