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hellafluff · 3 years

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Bored and thinking about my slasher OC Andy, the Alligator one, and like what her movie arc would look like. The following long ass post details each movie and how good it would be:

Her first movie would be called Gator, releases in the early 80s. It's a suspenseful murder mystery set in Florida that seems to point to the killer disposing of bodies in the swamp for the gators to eat but then its revealed the Killer is killing them with their fucked up teeth so it only looks like theyve been munched on by gators. Andy gets away after being shot a bunch in the end. a solid 8/10 movie, the dialogue kinda sucks

The second movie, which is titled something like Gator II - Birth of a Monster and its a lot like "i know what you did last summer" where a group of now adult friends are being picked off for something they did and it turns out to be Andy seeking revenge for the torment they put her in from her childhood. Andy is arrested in the end but chews through her cuffs and kills the police before escaping. a 4/10, lots of sex scenes between unlikable characters???

Third movie is a clusterfuck, it markets itself as another installment in the franchise but really its a creature feature with elements of the first 2 thrown in. Just called Gator III. HEAVILY rips off Jaws about 30 years too late. The villain here isn't Andy but a congregation of alligators tearing apart a small Florida town, lead by a massive albino gator covered in scars. Andy appears in flashbacks and a house is discovered in the swamp that seems to be where she lived but now is infested with gators. a half rotten skeleton with only one jagged tooth found nearby is implied to be her. 2/10 movie, no one likes it and animals were harmed on set, causing activist pushback

So you know the weird cult plot that happened in the later Halloween movies? The fourth movie, Gator IV - Tooth and Nail does that, retconning Andy's backstory and saying she was groomed by a cult because they see her birth defect as a sign from their demon patron that she will be its vessel. Her remains from last movie are brought back to life in the last half hour as a alligator demon woman that the studio forced the crew to make sexy instead of gross. Effects/makeup for it are practical tho and the movie is considered a 3/10, with some solid kills from the cult throughout and great effects but the pacing sucks and the main cast is awful.

Okay so. Jason X exists, right? Yeah in the late 90s this happens. Titled Sewer Gator. Unrelated to the Andy of the previous movies, a young woman is experimented on in a genetics lab and infused with alligator DNA. She mutates into a fucked up gator woman thats actually gross this time except is 1999 and CGI is the hot new thing and the studio execs cover over all the fun practical effects and makeup with godawful CGI. She escapes the facility and into the sewers of New York where she begins a massacre and continues to mutate until she's exploded with military grade weaponry at the end. a stinger after her death shows she laid eggs but this goes nowhere because the movie makes no money and its never touched again. Surprisingly good actually 7/10, the bluray remaster gets rid of the CG and adds back in as much of the practical footage it can find and it becomes a 8.5/10

The series goes dormant for ten years

The series is rebooted in 2009 with a remake of the OG, except now its called The Swamp. Much more character focused, starting with a herpetologist and a poacher coming to town to help with the alligator problem. Theyre at odds immediately, the poacher insisting the gators need to be dealt with his way but the herpetologist is like "hey these bite marks arent anything like an alligators what the fuck is going on???" the big reveal of the movie is the poacher knows its not an alligator, but his deformed sister who he was keeping locked up until her escape a few years back and he's here to kill her. He's killed in the end by Andy and the herpetologist manages to snare her in a bear trap and get away but when the authorities show up Andy's chewed through her own leg and escaped. 7/10, goes on too long and the reveal exposition is weird and plot holey but audiences enjoy it. Has really good nu-metal on the soundtrack.

The Swamp II comes out 2 years later and sucks so bad. 1/10. The plot takes the Family angle from the last movie and goes full Wrong Turn incest cannibals in the swamps of Florida with it. Weird and creepy and sexual. Andy is there, missing a leg, as the eldest child of this family who serves an insane mother but the movie focuses on her other siblings with their weird deformities let loose now that the "normal" poacher brother is gone. movie heavily implies one of the female characters has sex with an alligator at one point. trash movie, don't watch in a place someone can walk in on you in

Series goes dormant again.

A miniseries drops unexpectedly in 2019. Swamp Diaries. 5 half hour episodes in the style of a found footage film of a group of friends searching for the legendary "Gator Woman of the Swamp." First episode introduces the characters, all likable and well rounded, college age. Second episode is the beginning of the expedition, outlines a lot of the history of the Gator Woman urban legend. Third episode the group runs into actual gators and starts finding weird, Blair Witch esque shit, becoming lost after they have to run from something, the first death happens. Episode four is suspenseful and horrific as the group tries to get home, another person dies. Episode five is the kicker, ending with the reveal Tamara, one of the last survivors, is actually working with the actual Gator woman, her childhood friend who she promised to protect and later on, feed. Ends with Tamara killing the last survivor and telling Andy it's time to go home. 8/10, paced mostly well and very scary, lots of shaky cam but the final twist is a hit with monsterfuckers bc its all but said Tamara and Andy are together.

#slasher oc #slasher #andy #horror movies #long post

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isitoctober212015yet · 5 years

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So, no spoiler review of IT chapter 2: I liked it, it was well put together and i feel like it built on and expanded the first movie very well

some of my other thoughts chock full of spoilers are below the cut

– the opening scene with adrien mellon is easily the most brutal one i dig my nails into my skin when i get nervous and i was bleeding pretty bad by the end of those first 10 mins. its probably the worst and most visceral scare of the whole movie, everything after that’s manageable. I’m a little annoyed they included that one like...of all the parts of the book to stay faithful to thats the one you pick??? I was so annoyed when they announced they were makin that

– where was the scene from the trailer when pennydumbass jumped out of that hole that was in the wall like 10 feet up? Did I miss that or something i feel like it was absent

– I really loved the adult losers they were all so good. I really had no trouble beliving they were the grown versions of the kids from chapter 1

– however i feel they could have sassed back at pennywise more

– I appreciated that this one was darker more often than not but that there were still a couple moments of levity. Watching everyone run around screaming while Mike is smashing the table in the chinese restaurant after the scene with the blood (or perhaps that was just miscellaneous sewer ooze?) and screaming infant bugs was really funny to me. I’m also glad this movie didnt go the miniseries route and just put some live ass cockroaches on the table i hated that. The whole scene was very loud though. I feel like I’m too old but every scary scene i’m always just thinking “oh boy here comes some more noise...good :/”

– Mike was easily my favorite character this time around im glad he got more screentime because gotdamn was he robbed last time

– I love!! new kids content!!! I loved those kids so much so i was really glad that they came back

– goddamn the transitions between some of these scenes was fucking stunning i like said very loudly without realizing “Oh wow that transition” somebody nearby laughed at me

– I for no reason really want to draw a pomeranian with pennywise markings now

– How did nobody else ever figure out you can just beat It by pointing and laughing and calling it a sloppy bitch. it really took the people of derry five million years to workshop that one huh?

– I was so worried theyd try and force Bill and Bev together and they did not

– If you thought I was paying attention to anything other than that Michael J Fox poster in the background of the scenes in the fort. You would be INCORRECT I really need to finish that IT/BttF crossover huh?

– so???? one of the last things Richie does before leaving town is go to the lover's bridge and re-make the mark he made as a kid that said E + R (while Stan is saying “be proud of who you are” in a vo) are they saying hes gay??? also some kids call him gay and he doesnt like..adamantly deny it like he does other stuff, he just runs off. so??? kinda got gay vibes. it could just be me reading into it as a gay buuuuuuut idk Also Bill and Mike say “I love you” to each other and theyre like the only ones in either movie that even utter the words i love you that i recall, that and Bill wasn’t wearing a ring at the end???? Honestly was anyone else kinda feeling those 2 the whole movie? i was. is there any ship content for that? i feel like theres untapped potential there. gonna be bummed if theres nothing on AO3 tbh

– I can’t tell if I’m immune to horror or if this movie actually wasnt scary. It feels like Penboy only has one scare tactic and thats shake ur head real quick-like. And i do that when i mess up sentences to get my thoughts back on track u aint special bitch

– while nothing other than adrien mellon’s death really scared me I do think the scare scenes were a lot better this time around. better executed and all that. more thought was put into em

– I noticed a lot of really wonky edits esp in the antique shop scene and it kinda makes me wonder if they didnt get too many takes because stephen king didnt want to be there or what but like...every time they cut from Bill to that wide of stephen at the counter his coffee cup is moved and the book is at a different angle did y’all really only do like 1 fucking take of this shit???? I’d get a gotdamn F if I tried pulling something like that. I would get fuckin fired. And this movie with a billion dollar budget just let that slip on by???? I thought that this was gonna be a scene where oh no something spooky happens and the inconsistancies were supposed to be there to clue u in but no. its just bad editing.

– there was a lot of continuity errors in who was standing where or holding items in the deadlights pit where they did the ritual of chud. ignoring for a second that the losers pulled half their damn tokens out of nowhere when only a couple even had pockets on their person, that lampshade/demon container thing just kinda...appeared. Mike was not carrying that the whole time they were going through Neibolt and down. he also pulls a bag off his shoulder one second when hed never had one previously and then next shot theres no bag. my friend suggested that maybe this was like...to disorient you as the viewer and i think it was just like...somebody who fucked up real bad. It made it hard to track where anyone was in that space. but maybe im going to be the only person who notices that shit since im an editor so i have to always be looking for that, anyways this is why a script sup is so important

– also as a film student who once (and only once, i aint ever doing that shit again) was producer for a short film I was literally screaming at the scene on the movie set. Like???? thats not how movies work!!!!!!!!!!!!!! theyre filming the ending that night!??!?!?! The ending they are still waiting for Bill to write?!??!?!? How did you build a set??? How did you cast for that??? If ur at into a physical location not in the studio how did u get location permits for that day????? WHO STARTS PRODUCTION OF A MOVIE BEFORE ITS WRITTEN WHAT THE FUCK!?!?!?!?!?

– When Bill punches Richie in that recap of their chapter 1 fight there was a random red filter on the shot for 2 seconds who allowed that?? there was also this godawful blue food dye ass filter over one shot of the losers walking down the street. that shot was clearly filmed midday idk who they thought they were foolin with that. Just wait until night man. Again, i would be killed if i did that shit in a student film. but the brothers warn just let this happen????? WHY

#It movie 2019 #it chapter 2

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deadcactuswalking · 5 years

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REVIEWING THE CHARTS - CHRISTMAS SPECIAL: 9th December 2018

Geez, today was a busy week. Before we talk about the top 10, however, let’s just get the massive elephants out of the way.

CHRISTMAS NONSENSE

It’s the festive season and one way people celebrate the holidays is by listening to its music – usually, Christmas music, of course, and since I review all returning entries that I haven’t talked about yet, sigh... There are seven of these so I’m going to go as quick as possible, but just bear with me throughout this section because I really don’t like Christmas music all that much. Let’s just get it over with.

#39 – “Rockin’ Around the Christmas Tree” – Brenda Lee

This is “Rockin’ Around the Christmas Tree”, a song written by Johnny Marks and released in 1958 in the US, being left on the shelf for four years until its release in the UK in 1962. In 1963, it peaked at number-six and has since re-entered due to digital downloads, with one of its highest recent peaks being number-seven last year. It’s pretty inoffensive rockabilly, with some nice very-50s guitar licks coming in throughout, and some decently-sounding production, but really it’s not anything of internet until that sax solo. That solo is freaking gorgeous, and I’m glad it’s there, because otherwise this would just kind of fall to the wayside. Not sure I like Lee’s voice on here, it comes off as a bit nasal, but it’s not a big deal. It’s alright, I guess. I expected to say RIP here since she was popular such a long time ago, but no, she’s still alive and kicking. Good for her.

#36 – “Merry Christmas Everyone” – Shakin’ Stevens

Now this is where it all breaks down into dread. This song by Shakin’ Stevens is Godawful, mostly because of how painfully manufactured the whole thing is. It’s overproduced Christmas music that is just jolly feelings and nothing else. Those horns that kick in after the first verse are pretty cool, but Stevens doesn’t sound great here – or at least I can’t tell because he’s drowned in reverb – and the choir might as well be a computer for all I care. Also, the sax solo was cool the first time in Brenda Lee’s track, but here it’s just trite, especially when you add those shooby-doo-wops over it. This track was initially the Christmas number-one for 1985, and I understand why, but does it really have to come back every year since 2007 – for over 60 weeks in total? Oh, it peaked last year at #10 too. Let’s hope this upwards trend doesn’t continue.

#35 – “Santa Tell Me” – Ariana Grande

Now for a more recent one from arguably the biggest popstar in the world right now, with her 2014 song that actually failed to chart in the Top 40 initially until last year at #29, and that’s its peak so far... whilst I’ve never been a fan of the cleaner, refined Ariana Grande records, I do have a soft spot for this one. That melody is infectious and the sleigh bells complement the synth bass in a way I didn’t think they would, and it’s not like the drums are all that overpowering here, although a trap skitter would have worked better here (yeah, I know, not something I say often). It’s surprisingly romantic and sensual for a song with Santa in the title, actually, although it’s about men who have wronged her. Anyway, Ariana kills it but what else do you expect from a song from her at this point? It’s a good track, although the final chorus with the choir is really cluttered, just saying, it’s messy.

#30 – “It’s Beginning to Look a Lot Like Christmas” – Michael Bublé

This here is Michael Bublé’s cover of traditional Christmas classic written in 1951 by Meredith Wilson, and it’s not great. Obviously, I mean, it’s Michael Bublé, ever since “Haven’t Met You Yet” he’s been utterly useless seasonal radio fodder. Bublé never really sounds bad but he never sounds interesting, and this production isn’t doing him any favours. It’s sickly sweet strings and brass for the most part, with some piano added in there for good measure, after what seems to be way too long of just airy synth, string and guitar noise – that’s really out of place, guys, why is this on the single edit? Ah, what else to say? Oh, right, nothing.

#26 – “Do They Know it’s Christmas?” – Band Aid

Oh, I know it’s Christmas time, alright, this song won’t let me forget it. I could ramble on about how preachy and awful this charity single is but other people have done it better. I just have four short things to say – 1.) this was the most popular song in the UK of the entire 80s. Yikes. 2.) This is the worst thing the Boomtown Rats have had any involvement in. They’re such a great band, hell so are Culture Club. How do Boy George, the Boomtown Rats, Ultravox, Phil Collins, U2, Kool & the Gang, Sting and Duran Duran make something this awful? They’re all absolutely fantastic musicians in their own right. 3.) That synth that kicks in after a while is pretty ugly, not gonna lie, and is unfitting for the condescending Christmas charity single angle they’re going for here – mostly because that’s what it really is. 4.) We’ve remade and reissued and re-entered this song too many times. Let it go, Britain. Please. We’re begging you. It’s for a good cause, and I appreciate how much money it’s raised, but it’s also garbage.

#18 – “Fairytale of New York” – The Pogues featuring Kirsty MacColl

They use the word because it was the 80s, it’s not meant to mean homosexual and it’s not used in that context – albeit still a negative one – and the climate of Ireland, especially the Celtic punk scene, wasn’t exactly going to care about dropping that slur in their Christmas single. It should still be censored, though, I mean, black rappers saying the N-word is morally okay, but we still mute those, right? Anyway, this is one of the best songs I’ve ever heard. It starts with a beautifully elegant piano melody, with the lead singer of the Pogues, Shane MacGowan, mumbling his way through his verse, but instead of people like Future or Lil Baby, there’s still a lot of sincerity there, I feel, and a lot of soul is put into expressing the lyrics here in the raspy tone that I absolutely love. I’m not going to talk much about the story here mostly because I’m not going to go in-depth, but it’s about a typical love story going awry at some point due to a betrayal. Oh, and the moment the Celtic traditional instruments come in is one of the best moments in music – ever. Kirsty MacColl sounds so lovely here, and the harmonisations in the chorus are fantastic. That flute solo is gorgeous, and the juxtaposition between “you’re a bum, you’re a punk, you’re an old s--- on junk, lying there almost dead as a drip on that bed” and the cheerful instrumental is just hilarious to me, especially since right after “Happy Christmas your a---, I thank God it’s our last” is immediately followed by the bombastic drunk sing-a-long chorus. The third verse is also such a great back-and-forth, man, I can’t even bring to words how much I admire and adore this piece of music. This is the best song I think I’ve ever talked about on this show, by far, but it could have easily not been close if “2000 Miles” by the Pretenders returned this week. We’ll just hope for next week, I guess. Rest in peace to Kirsty MacColl, gone much too young.

#14 – “Last Christmas” – WHAM!

Finally, we have our last Christmas song for this week’s holiday REVIEWING THE CHARTS special. It’s an anti-climactic end, to be honest, because I’m pretty indifferent to this song. It’s pretty 80s, to be fair, so I’ve got to like some of the cheesy falsetto vocalisations from the late George Michael at the start, as well as those repetitive synths that keep themselves from sounding awful by having those sleigh bells and pretty damn nice keys covering them. That chorus is iconic, but the rest of the lyrics are just forgettable. Honestly, it’s a good background song and it’s a well-written, catchy pop track with Michael putting in some good vocals throughout, but, it’s nothing special. Nothing but respect to George Michael, though, rest in peace, he’s a pop legend over here.

Christmas Conclusion

The best Christmas song on the charts right now is easily “Fairytale of New York” by the Pogues and Kirsty MacColl, but an Honourable Mention goes to Mariah Carey for “All I Want for Christmas is You”. Yup, that’s still here, we’ll get to that in a second. Worst of the Week goes to Band Aid for “Do They Know it’s Christmas?” You should be ashamed, Bob. Dishonourable Mention is going to Shakin’ Stevens for “Merry Christmas Everyone”. Other Christmas songs you should check out are “Christmas in Harlem” by Kanye West, Teyana Taylor and CyHi tha Prynce featuring Musiq Soulchild (heck, check out the longer version if you wish), “2000 Miles” by the Pretenders, “Stop the Cavalry” by Jona Lewie, “Christmas Lights” by Coldplay, “You’re a Mean One, Mr. Grinch” by Tyler, the Creator and “Rudolph the Red-Nosed Reindeer” by DMX. Yes, those last two actually exist. Now, this Christmas section has taken longer and is longer to read than about half of my normal episodes, so I think we should get straight into...

Top 10

Well, this all feels a bit more familiar. “thank u, next” by Ariana Grande is still at the top of the charts five weeks in, and it doesn’t really seem to have much competition.

Ava Max, however, is making a surprise run for the top, up four spots to number-two, with “Sweet but Psycho”. I wouldn’t exactly be complaining if this hit the top either.

“Without Me” by Halsey is up a spot to number-three.

We have a new entry from the most recent X Factor winner, Dalton Harris, with a cover of Frankie Goes to Hollywood’s Christmas classic “The Power of Love”, featuring James Arthur. I guess awful Christmas songs aren’t going away for that long, huh? Obviously this is Dalton’s first top 10, and Arthur’s fifth.

“Thursday” by Jess Glynne is down two spaces to number-three.

Up a whopping 28 spaces this week to number-six is, you guessed it, Mariah Carey’s “All I Want for Christmas is You”. This isn’t its first top 10 turn, and it’s not its peak, but still impressive to reach here nonetheless.

This means “Woman Like Me” by Little Mix featuring Nicki Minaj is down five spaces to number-seven.

“Rewrite the Stars” by James Arthur and Anne-Marie has actually gained nine spaces, surprisingly, and to my dismay, to number-eight, becoming Arthur’s sixth and Anne-Marie’s fifth.

Oh, and if you wanted even worse news, up an even larger 29 spaces is “KIKA” by 6ix9ine featuring Tory Lanez, becoming both their first (and hopefully for 6ix9ine, only) top 10 hit at number-nine. I like the song, but I don’t like Tekashi, to say the least.

We have another new entry at #10 this week with “Nothing Breaks Like a Heart” by Mark Ronson featuring Miley Cyrus. This is Ronson’s sixth top 10 hit and Cyrus’ fourth (yeah, I thought she had more too).

Now, instead of separating what happened on the charts into Dropouts, Climbers, Returning Entries, Fallers and such, let’s separate into two sections: “What Survived” and “What Suffered”.

What Survived

What survived means essentially everything that still managed to chart this week, and I’m actually surprised by how much power some of these songs have. Going in reverse order, I have no idea how “Arms Around You” by XXXTENTACION, Lil Pump, Swae Lee and Maluma managed to cling on despite a 17-space fall to #40. “Promises” by Calvin Harris and Sam Smith is down 16 to #38, “Baby Shark” by Pinkfong is down four to #37, “Empty Space” by James Arthur is down 10 to #34 (why did James Arthur of all people have the strength to stay during the avalanche?), “Hold My Girl” by George Ezra is down eight to #33, “Shallow” by Lady Gaga and Bradley Cooper is down 27 to #32 (considering both streaming cuts and Christmas bloodbath), “Leave a Light On” by Tom Walker has returned to #31 for some reason, “when the party’s over” by Billie Eilish is down seven to #28 (again, surprised this one’s still here), “Taki Taki” by DJ Snake, Ozuna, Cardi B and Selena Gomez is down eight to #27, “1999” by Charli XCX and Troye Sivan is down 11 to #24, “Polaroid” by James Blue, Liam Payne and Lennon Stella is down 11 to #23, “Let You Love Me” by Rita Ora is down eight to #22, “Better” by Khalid is down five to #20, “Sunflower” by Post Malone and Swae Lee is down seven to #16, as is “ZEZE” by Kodak Black featuring Travis Scott and Offset right next to it at #15, “Funky Friday” by Dave and Fredo is down five to #12, and everything else that’s currently charting is either simply not notable (a drop or climb less than four spaces), in the top 10, a new arrival, a Christmas re-entry or in the top 10. Jesus. Now, what’s gone?

What Suffered

This is a little nicer name for what’s dropped out in the absolute onslaught of Christmas music and new arrivals (all returning and new entries this week total to 12 songs that weren’t on the chart before). This week was an absolute bloodbath, and these are the murder victims. Former #1 “Shotgun” by George Ezra is out from #30, “Advice” by Cadet and Deno Driz is out from #28, “AirForce” by Digdat is out from the #20 debut, “Mo Bamba” by Sheck Wes is out prematurely from #27, “This is Me” by Keala Settle and the Greatest Showman Ensemble is out again from #36, another former #1 “Eastside” by benny blanco, Halsey and Khalid is out from #31, “Happier” by Marshmello and Bastille is out from #32, “I Found You” by benny blanco and Calvin Harris is out from #29, “MIA” by Bad Bunny featuring Drake is out from #35, “Always Remember Us this Way” by Lady Gaga is out from #39, “Goodbye” by Jason Derulo and David Guetta featuring Nicki Minaj and Willy William is out from #40 and finally, “Back and Forth” by MK, Jonas Blue and Becky Hill is out from #37. I’d say it’s time to move onto the New Arrivals – but before, I’d like to say that the BBC redesigned their UK Top 40 page, and it looks pretty cool. Anyways:

NEW ARRIVALS

#29 – “MAMA” – 6ix9ine featuring Kanye West and Nicki Minaj

Of course, DUMMY BOY only had a stunted tracking week last week, so we have the effects of the album this week. This is 6ix9ine’s third top 40 hit in the UK, Nicki Minaj’s thirty-seventh (yeah, I know, it’s insane), and Ye’s even crazier forty-third, and to be honest, it’s inoffensive, which is something I’d never thought I’d say about a 6ix9ine song, but, hey, it is what it is. Murda Beatz’s production is pretty cool for what it is, and I do like the eerie synth loop. 6ix9ine’s delivery is lazy and boring – and I still think we shouldn’t let rappers say they kick women out of doors – but he doesn’t last long so when Kanye comes in with that “man, oh my God” refrain it gets so much better. I’m so used to Kanye West’s pop-culture rambling, social media criticism/obsession, somehow relating to women nonsense he brings to nearly every single verse he does recently that I’m used to it, it’s just something I’ve heard before delivered relatively comedically. Nicki’s refrain and verse actually has some work put into it, unlike the dudes’ bars, so yeah, I appreciate that, although her delivery and cadence is exhaustingly blunt and straightforward, to the point where it’s just kind of tiring. There’s some decent wordplay there, I guess. This is okay enough, and pretty much top-tier Tekashi to be honest. “KANGA” also featuring Ye is even better, though.

#17 – “Going Bad” – Meek Mill featuring Drake

Meek Mill and Drake working together is something I expected to happen anyway. Meek and Drake have seemingly squashed their beef and have relaxed after the “Back to Back” situation and their popular 2015/2016 beef that revealed a lot about Drake, specifically his ghostwriting from Quentin Miller, and eventually stressed Meek’s relationship with Nicki enough for them to break up as a result. Oh, and you better believe they mention “back to back” because of course they do, it’s the only funny wordplay they can conjure up, apparently. This is Meek Mill’s first ever top 40 hit in the UK (congratulations) and in stark contrast, Drake’s forty-fifth (yes, even more than Kanye), and his thirteenth just this year (probably and hopefully his last), and it’s mediocre. I didn’t know what to expect because I’ve never really cared enough about Meek to listen to him, but an out-of-tune piano absolutely demolished by some bass while Drake spouts off with stuff like “I got more slaps than the Beatles” isn’t exactly the best first impression. Is there a chorus here, or not? I can’t tell, everything’s just kind of the same until the ad-lib break that’s long enough for Genius to count it as an entirely different section of the song than in Meek’s verse. It was “Interlude” when I looked but it might be “Post-Chorus” now. Yeah, it should be clear I don’t care enough about this song. I do like Drake’s delivery in the hook, though, it’s pretty energetic, but not enough to save it.

#10 – “Nothing Breaks Like a Heart” – Mark Ronson featuring Miley Cyrus

So, yeah, I like this. It starts with some beautiful strings right before Miley Cyrus fades in with her country twang that I’m starting to really appreciate, and those guitars come in to complement her and the deeper bass that I like the addition of, it really contrasts the otherwise pretty light production, that seems to be dramatic but kind of unfitting for the lyrical content about how the world can hurt you but heartbreak is the worst possible thing, because despite the beat’s melodrama it’s too upbeat to really work here, I feel. Ah, well, the hook is pretty memorable, and the orchestral stings is just one little barely-noticeable production quirk that I can talk about, seriously, Mark Ronson puts so much effort into crafting these songs over the years, it’s pretty great. It may be a bit too repetitive and slow for my taste, but, yeah, I can dig this. Good song, just not much to say about it.

#4 – “The Power of Love” – Dalton Harris featuring James Arthur

The girl gets Leona Lewis, the Scouse dude gets Kaiser Chiefs, yet the WINNER gets James Arthur?! Really, James Arthur? Poor dude. You must know you’re an amazingly talented singer when you get James Arthur put on your song and you still make a surprisingly decent winner’s single, hell, even win in the first place. Arthur is such an awful vacuum of talent, I was scared Harris would be affected by this but no, even with my half-bothering with the show this year I can tell he’s been consistently great, and he’s definitely not bad on here either, although the production has no unique charm to it and is just plastic Syco production as you expect, with James Arthur bringing an above-average performance (this means still pretty bad) with his moaning and straining that just pains me to listen to. Seriously, James, let’s have a cactus-to-man talk and let me teach you how to not sound like my dead cat who just popped some Xanax.

Conclusion

Worst of the Week goes to Dalton Harris and James Arthur for “The Power of Love” – at least “Going Bad” has some energy and legitimate soul to it, although Meek Mill and Drake still get Dishonourable Mention. Mark Ronson and Miley Cyrus take Best of the Week home for “Nothing Breaks Like a Heart”, and hell Kanye and Nicki made “MAMA” bearable enough for them and 6ix9ine to get Honourable Mentions. See ya next week, where we’ll probably see a few more Christmas songs. Delightful.

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