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theprotagonistdies · 3 years

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Mortal Kombat 2021 Movie Review (w spoilers)

Just wanted to get this off my chest now that the movie’s been released in America. I watched this on 8th April when it was first released in Singapore, and two more times the following week.

So, overall I give the movie about a 6.5-7/10 or C+. Acting: Decent Story: Average at best Action: Above average to Good Gore: Graphic but not as often or much Best highlights: Joe Taslim as Sub-Zero, Hiroyuki Sanada as Scorpion, Costuming

I’ll be referencing some comments by others about the movie, but this’ll all be my opinions. I reviewed the movie based on my understanding that it’s a low budget film before even watching the movie. I am also a fan of the game (though I do not play, I watched most of the lore)

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When I first watched the movie, I was excited. The intro showing Hanzo Hasashi’s backstory would be something familiar to fans of the game. As expected, his wife and child were killed, but as we know it, they have an extra baby girl who later survives and carries on the bloodline. At this point, I was already ‘eh’ because it was so predictable what happens next. I was already disappointed that they named the son ‘Jyubei’ in the subtitles, when the wife didn’t even utter his name in Japanese. In the game, Hanzo’s son is called Satoshi. But one can say that’s something petty.

Anyways, as it goes on, we meet Joe Taslim as Bi-Han. He’s menacing, he’s cocky and has the presence that fills the screen. Already, I was smitten. While some people were saying the movie is rushed, I’d say this part of the intro felt a little draggy. But, the fight scene after is great, and we see Hanzo and Bi-Han throw hands.

I’d have to say at this point: ALL fight scenes including Bi-Han/Sub-Zero were great. They’re the best. Every other fight scene with the other characters were decent but not great.

Then we get introduced to Cole Young. From the get go, I do not like new characters not in the lore. I’m that type of person who does not like original characters in fanfiction. And his story further made me feel that a lot of time was wasted on him. Mortal Kombat has story elements around family, yes, but it’s not central, and it made the movie too wholesome and not in a way that I feel implemented well. In my opinion, it made the movie a little cringey at times. I like Lewis Tan who plays Cole but unfortunately he’s been given a role that was completely unnecessary.

A Youtube reviewer said it best: Why make up an entirely new character when there’s a plethora of characters to choose from? Heck, if you want him related to Hanzo, you could have used Takeda or something (though yes i know he’s not related to Hanzo, but he could be like a distant cousin relative whatever, with Takehashi on one of this other parents side).

There’s Jax and Sonya - why not just use Sonya? She’s the one gathering all the information. They could have used her.

Anyway, moving on. We also meet Kano. He was good and I see a lot of people loved him. Personally I thought he was okay, but he was too comedic in my opinion and felt underwhelming. While funny quips and mockery are appreciated, he felt like what Liu Kang called him: A small, angry little bunny. Not at all what I’d expect of the leader of Black Dragon.

There was... it that supposed to be Reptile? I honestly do not know, but I don’t believe that’s the Reptile we know from the game, and more of a mindless monster that has Reptile’s abilities.

I loved Sonya in this movie. Jessica McNamee was amazing as her. One - she’s attractive as hell, and Two - she felt far more relatable than Cole Young. From her being a soldier living in her ‘shithole’, to her curiosity in trying to find out more about the Mortal Kombat tournament.

They look for Raiden’s Temple in the desert. This was a little slow and again, I say Kano just felt like a chump here. A try-hard doing his best to appear intimidating but failing.

Liu Kang appears. Kano won’t shut up. Liu Kang’s introduction was interesting and I liked it, but later on his monologues and exaggerated actions were so odd and ‘extra’ to me that I was cringing. I don’t know why they don’t just make him a normal guy who’s a Shaolin monk lol.

Raiden is as cranky as we know him in the game. He’s kinda dull here, but to be honest, so is he in the game, so I don’t mind it. I saw someone compare him to the 1995 version which while I enjoyed and appreciated, did not think he suited the game and movie. So Tadanobu Asano’s Raiden is fine to me! Also, shut up to the people who get on others’ case on the way they pronounce Raiden. In Japanese it’s Rai-den, not Ray-den, like they say in the game. Both are correct, so shut up.

Sub-Zero makes an entrance again, menacingly running down the hall and making me sploosh, and Kung Lao also makes an entrance. Here you can see how poor the CG is. This is where you can tell the budget is low and realise that all the sets we’ve seen so far is pretty small and closed.

The ‘arcana’ thing that they made up to explain their powers was honestly pretty smart and I quite liked it. It then becomes a training arc, which while understandably can be seen as slow, it’s quite needed for the story.

The villains in this story were sadly underutilised. Admittedly I am unfamiliar with Nitara and Reiko, so them being throwaway characters did not affect me. Kabal, while very charismatic, died but I felt it was a decent end. I personally wish they could have included him more. However, for Mileena and Goro, I could see the moment I watched it that people were gonna be mad. I’m not fans of either of them but I understood that they are major characters in the game. So for them to be offed that easily was... tbh very disappointing and quite insulting. I sincerely hope they will bring back Mileena for the next movie, experimented on and brought to life using Kitana’s blood or something.

But best villain? Obviously goes to Bi-Han/Sub-Zero. Honestly I went into the movie expecting to root for Scorpion but I ended up being so in love with Joe Taslim’s menacing and chilling portrayal of Sub-Zero. He’s soooo good. People said he was like a slasher film villain and I think they made a great choice doing so!

As for Cole - I’m still not a fan of him or his powers. I like they used tonfas, but as some called it - he has literally plot armour which, tru. Hahahhaa.

So finally after all that, we finally get to the last fight.

Sub-Zero is about to kill Cole then Scorpion is summoned. They both fight and actually one can see Scorpion is winning? He got more hits in than Sub-Zero (two stabs, a side slash and a throw from Scorp, meanwhile Sub got one slash and a throw) so I don’t understand why people thought he actually needed help from Cole.

Also, this is another major complaint about the ‘wholesomeness’. Why was Hanzo’s family killed but Cole’s family spared by Sub-Zero? Why couldn’t they just killed them off for extra weight to the story instead of making it so safe? I felt that would have redeemed Cole’s character as more of Mortal Kombat character if they did so.

But I really enjoyed the fight here. As I mentioned all fights that involved Sub-Zero are amazing and people not giving the credit to this fight scene are blind. I also saw a comment that said they were expecting ‘John-Wick level’ of fight. Both fair and unfair comment because: It’s a low budget movie and they are two different styles of movies. John Wick is more realistic while this one is more fantastical. Though for them to call this a Marvel level choreography... I’m not sure bc Marvel put a lot of money, so that means for their budget the MK movie did well? So IDK but I believe the fight choreography was good in this most especially in the Sub-Zero/Scorpion fights.

Fatalities were great, costuming were great and for the sets while small and enclosed they did good.

Story could have been better and I cannot stress how much I find Cole’s role completely pointless. Pacing wise I actually do not find a problem with it. I only wished for more fighting and less about ‘family’.

From the movie overall I understood it as to be a set up, and even before watching it, from the trailers, I somehow knew it was not going to have a tournament so I don’t know why all these people in comments are lamenting about the lack of a tournament. It feels clear to me that this is a set up movie and more are to come.

So while I have a lot of issues with this movie, I do think it’s a fun watch which is why I give it a pretty generous score imo.

Hopefully we’ll have more to come, improving everything in all aspects with hopefully a bigger budget!

#movie review #mortal kombat 2021

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deadcactuswalking · 5 years

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REVIEWING THE CHARTS: 22nd September 2019

Our episode of REVIEWING THE CHARTS today seems to be particularly focused on British hip hop as we have the fall-out from a busy week amongst five new arrivals, a good majority of them being from UK trap artists... as well as Ariana Grande, clearly my favourite grime MC. Without further ado, let’s review the charts.

Top 10

For a fourth week, “Take Me Back to London” by Ed Sheeran featuring Stormzy, and remixed by Sir Spyro, Jaykae and Aitch, has a stronghold on the charts and honestly I haven’t bothered to listen to the song or its remix since it debuted; if it weren’t for the team-up of Ed and Stormzy this would be pretty unremarkable.

At our runner-up spot is the massive collaborative single, “Don’t Call Me Angel”, from three of 2019’s most interesting pop girls, Ariana Grande, Miley Cyrus and Lana Del Rey (All of which have released albums of varying quality this past year), for the soundtrack of the blockbuster reboot for Charlie’s Angels, debuting at number-two, just shy of Sheeran. Bear with me as there are a lot of arbitrary figures here: This is Grande’s 23rd UK Top 40 hit and her 15th Top 10, Cyrus’ 17th UK Top 40 hit and her fifth Top 10 as well as Lana Del Rey’s tenth UK Top 40 hit and fourth UK Top 10 hit – in fact, it’s Lana’s highest-peaking song ever, and first song to hit the Top 10 here in the UK since the remix of “Summertime Sadness” peaked at number-four in 2013. The UK loves these three, it’s a movie soundtrack single with a video, I’m not surprised it’s reached these heights of success – I’m just shocked it couldn’t hit the top spot, if I’m honest.

Now we can run through the rest of the top 10 pretty quickly: First of all, we have three consecutive songs with identical falls on this week’s chart. Down one space to number-three is “Taste (Make it Shake)” by Aitch.

Also down a single position at number-four is “Higher Love” by Kygo and Whitney Houston.

At number-five, similarly down one spot this week, is “Ladbroke Grave” by AJ Tracey.

Standing still since last week is the non-mover of “Sorry” by Joel Corry, featuring uncredited vocals from Hayley May, which at this point has probably surpassed initial Love Island fame at number-six.

Also not moving this week is “3 Nights” by Dominic Fike at number-seven.

At number-eight, down three spots thanks to alleviating hype for the Hollywood’s Bleeding album with impacted last week, is “Circles” by Post Malone, although this definitely won’t be the last we see of him this week.

At number-nine, down a spot from last week yet not down soon enough, is “RAN$OM” by Lil Tecca.

Also down one position, finally, we round off the top 10 with “Strike a Pose” by Young T & Bugsey and Aitch.

Climbers

There is one notable climber this week, and that is “Dance Monkey” by Tones and I up five positions to #14, very quickly gaining from its debut three weeks ago. “Outnumbered” by Dermot Kennedy is only up three spaces so wouldn’t be all that notable if it weren’t Kennedy’s first ever entry into the Top 20 of the UK Singles Chart. Otherwise, there’s nothing to speak of here.

Fallers

This category is a lot more plentiful. In reverse order of where they stand on the chart, we have “Old Town Road” by Lil Nas X featuring Billy Ray Cyrus making its way out down six spots to #38, “Ritual” by Tiesto, Jonas Blue and Rita Ora perhaps prematurely making an exit down eight to #36, “Buss Down” by Aitch featuring ZieZie dropping down 14 spaces off of the debut to #35, “Sounds of the Skeng” by Stormzy also taking a hit immediately after debuting high up as it’s down 11 spots to #31, “Senorita” by Shawn Mendes and Camila Cabello slowly winding down five spots to #19, and finally, also down five spaces to #15, we have “Goodbyes” by Post Malone featuring Young Thug, taking less of a hit than I expected off of the album impact last week.

Dropouts & Returning Entries

First of all, we have quite a few drop-outs considering there are five new songs debuting, the highest being “Hollywood’s Bleeding” by Post Malone off of the debut at #11. This is due to an arbitrary UK chart rule that only allows three songs by one artist on the chart at one time, and these have to be the highest-performing singles, hence, since the title track got trumped by another single in terms of popularity, it’s gone and probably won’t ever for another week as the debut from Post this week is already showing more longevity. Our drop-outs here are actually mostly massive smash hits that have been losing steam for a while and have just now dropped out after weeks on weeks of high performance. The first anomaly to this rule is “Lover” by Taylor Swift, after only five weeks on the chart, dropping out from #31 but it’ll probably be back soon enough. Otherwise, we have “So High” by MIST and Fredo out from #35, “You Need to Calm Down” by Taylor Swift out from #36, “bad guy” by Billie Eilish out from #37 and “Hold Me While You Wait” by Lewis Capaldi out from #39... as well as “Slide Away” by Miley Cyrus off of the debut last week, not picking up any steam at all which has me worried.

Uncommon for the UK Top 40, we have two returning entries. The first is “Lalala” by Y2K and bbno$ as I predicted, back to #40 after a particularly busy week pushed it out off of the debut. The second is “Panini” by Lil Nas X, propelled by both a futuristic, wonderfully cheesy video set in space as well as a remix with a feature from DaBaby, which honestly adds so much to the song and with the benefit of hindsight, his verse should have been there from the beginning. There’s also an “Official” music video for the remix featuring characters from Chowder which may or may not be legal but it’s hilarious.

Oh, and I feel I should add that Hypersonic Missiles by Sam Fender, the #1 album on the UK Albums Chart this week, has three songs outside of the Top 40 similarly to Lana’s last week, with “Will We Talk” up 15 spaces to #43, the title track re-entering the chart at #48, and a debut for “The Borders” at #59. Anyways, onwards with the show.

NEW ARRIVALS

#37 – “Wiley Flow” – Stormzy

Produced by EY, AdotSkitz and Illmind

Stormzy is releasing a fourth single from the still unnamed and unannounced album, the week after “Sounds of the Skeng”, with a second throwback-type single, which has me worried for the album in all honesty as it’s looking somewhat rushed so far and I loved Gang Signs & Prayer but it did suffer some filler, which “Wiley Flow” may just be an example of. Regardless, it’s his 18th UK Top 40 hit, and don’t get me wrong, it’s not bad at all, but it does feel like a re-tread of “Vossi Bop”. It starts with a menacing synth loop that may be a sample, but it has a pitch stretch at the end of the loop which seems like a cop-out as it does not add to the beat really, it doesn’t work as hypnotic as Stormzy’s stilted flow here isn’t exactly catchy, relaxed or even smooth, relying on more typical Western trap flows while the loop cuts out for more bass-rattling trap but... the ”hook” of sorts is boring and repetitive, doesn’t end properly but sounds really off rather than effective. The second verse is slightly better, I mean—

If you ain’t got more than five top tens, then I don’t want to hear no chat about charting

Uh... Well, then. I think I’ll skip this one, I mean, this isn’t a great song but Stormzy’s still pretty intimidating, I mean, damn, I better shut up. Please don’t kill me Stor—

We here at Sudnay Salad have received a statement from cactus’ estate announcing her untimely murder at age withheld. Rumours say she was the victim of a secret hitman order placed by famous British rapper Michael Owuo Jr., more well known as Stormzy.

#24 – “Professor X” – Dave

Produced by Dave

Now, there was an album bomb of sorts this week that wasn’t Sam Fender, yet neither Fender or this bomb had any impact on the Top 40. That album bomb was for the soundtrack to gritty street drama Top Boy, rebooted and continued by Netflix... and soundtracked by Drake leeching off of British hip hop as he’s been doing for the past few years, with his only contribution being a freestyle from 2018 on Link Up TV, with a tad more reverb. It’s a lazy compilation on Drake’s part, but he didn’t choose awful rappers at all, I mean, there are songs with Fredo and Little Simz, who had an amazing album you should check out that was released this year, GREY AREA, as well as AJ Tracey, Headie One, Nafe Smallz and two songs by Dave. The Drake freestyle, “Behind Barz”, debuted second-highest at #51, Fredo’s “Freddy” debuted at #53 and since technically this isn’t a singular artist’s album, it’s not affected by the chart rule restricting the songs debuting to the three biggest, meaning “Elastic” by AJ Tracey also debuted at #63. One of two singles by Dave from the soundtrack, the other being “God’s Eye”, landed at the Top 40 despite being the seventh song on the album and having no single push whatsoever. Anyway, it’s Dave’s 13th UK Top 40, and it sure is... okay? The strummed guitar is actually pretty intimidating but the lyrics aren’t at all so that doesn’t work. The trap percussion with the intense sub-bass kicking in during the first verse as well as the sweet vocal samples and strings makes for a pretty cool beat, actually, but Dave doesn’t say much of interest or include some cool wordplay... and all of this seems more like a demo for “Streatham” from Psychodrama – the flow is exactly the same for most of it, although this is the typical “Dave flow”... but then at the end of the first verse, he has the exact same flow switch that worked so well into the bass launching in the middle of the second verse on that song, but here it just leads to a half-chorus and a brief interlude from what I’m assuming is Top Boy. It kind of cheapens “Streatham”, which is still a fantastic song, although the second verse is better and I’m not going to lie and say the hook isn’t pretty catchy. Otherwise, this is one of the worst songs I’ve heard from Dave in a while, and is relatively uninteresting in all factors.

#22 – “Take What You Want” – Post Malone featuring Travis Scott and Ozzy Osbourne

Produced by watt and Louis Bell – Peaked at #6 in Hungary and #8 in the US

Yeah, I did a double-take the first time I saw that listed on Spotify too. Since “Hollywood’s Bleeding” debuted last week, it has faltered in popularity, meaning arbitrary UK chart rules let this song chart, and oh, my God, I wish it charted sooner because this is easily one of the best songs on that Hollywood’s Bleeding album, right next to “Sunflower”, my personal favourite “Goodbyes” and what I think is the best deep cut, “Allergic” (Although that seems to be one of the least popular efforts from Post here). I’m not even sure what to say about it, to be honest, everything just meshes perfectly into place. This is Post Malone’s 13th UK Top 40 hit and Travis Scott’s eighth, as well as being Ozzy Osbourne’s ninth (Not counting Black Sabbath), and first UK hit since “Changes” with his daughter Kelly Osbourne hit #1 in 2001, more than 18 years ago – although in the US, Ozzy had a 20+ year lack of charting singles until “Take What You Want”. I feel I’m going to ramble on about this song but, God, it is near-perfect. It starts with a slick, processed, slightly downtuned acoustic guitar amidst creepy harmonised ad-libs from Post and Ozzy, before the sub-bass kicks in and Ozzy Osbourne sounds fantastic over looming 808s with his ominous, trembling voice, which sounds quite delicate and melodic here, a sharp contrast from the early metal sound of Black Sabbath but not unfound territory for the singer. The poetic lyrics are brutal and are a knee-jerk reaction to a break-up, where Ozzy and Post feel lost and clueless, like they’ve been sucked dry, and Post comes in with a pretty subdued flow initially, but then starts belting against a peaking mix, distorted bass and some low electric guitar (That’ll come back again, much more forward in the mix however...). Post’s warbling in the chorus arguably sounds better than Ozzy, especially when that crash of the kick drum comes in and the intensity is amped up to 100%... only for it to collapse, to make space for Travis Scott. Now, remember when I said this song was near-perfect? Well, I initially really didn’t like Travis’ verse here but it has grown on me immensely. Even if his content is nonexistent, Travis’ sour bitterness is lethal, talking about using the power given to him by his ex’s insults to make chains as well as almost threatening her at the end of the verse, saying that no matter where he goes, he’ll never be alone, but this woman is just completely isolated without him. It’s almost like he lives in some sort of primitive patriarchal society within his mind, and that’s completely fair, as not only would someone suffering from a brutal break-up be this self-indulgent but also he sounds fantastic saying it, with the distorted Auto-Tune drenched in reverb hitting in a similar way to Kanye on 808s & Heartbreak. The pre-chorus, also delivered by Travis, is just a bunch of manic thoughts vaguely resembling “rapper activities” collected into somewhat of a rhythmic pattern, and that’s how Travis feels - he is a bunch of words compiled with no rhyme or reason as he’s left fragmented and sour about the relationship. The final chorus is an awesome harmony from Ozzy and Post – they sound surprisingly great together, but slowly and slowly you hear those guitar riffs in the midst of trap percussion... which cuts out for an excellent guitar solo, with surprisingly technical skill and it works astonishingly well on the trap beat, especially when it elevates with repetitive ad-libs from both singers amplifying the chaos, just to slow down and end abruptly... much like the relationship. Funny how that works out. This is a fantastic song, everyone kills it from Post to Ozzy to Travis to uncredited producer-guitar man (that’s Andrew Watt, by the way), and that’s all I can say really.

#16 – “Nookie” – D-Block Europe featuring Lil Baby

Produced by Nathaniel London

So, funny story, I saw this song blow up in real time because for some reason “#LilBaby” was trending on Twitter in the UK and I was so confused because Lil Baby isn’t that big here. Turns out he had a feature on a D-Block Europe song... but so did Offset, and that track completely flopped so I didn’t expect this to go anywhere. Now I see the chart and it’s D-Block Europe’s fourth UK Top 40 hit and their third Top 20 hit, tied for their highest peaking song ever with “Kitchen Kings” from a couple months ago and Lil Baby’s highest-peaking song and first ever Top 20 here in the UK (“Drip Too Hard” with Gunna did chart at like #26 last year, however). I guess that’s just how awful I am at speculating. Most of the Tweets I saw with that hashtag were about how Lil Baby bodied the song and outshone Young Adz, the breakout star of the group, who ends up sharing a verse with the other member, Dirtbike LB. Dirtbike doesn’t handle the chorus or even most of his verse, so essentially this is a song by Young Adz and Lil Baby from the upcoming D-Block album PTSD and... it’s not as bad as it usually is from these guys, but that’s mostly because Lil Baby kills it here. I never liked the guy and I still don’t think I’ll like him in the future, but I have seen improvements. He tried to hold his own on “Baby” with DaBaby, had a pretty good verse on Young Thug’s “Bad Bad Bad” from So Much Fun and his verse here is not the first set of bars that I’ve heard from him I’d consider actually pretty good, although I’ll always personally prefer Gunna. Does he have interesting content in all his gunplay and shallow flexing? Not exactly, but he has some relatively funny punchlines here and there, referencing Lil Keed and mostly sticking out for how odd they are, we’ll get to funny lyrics in a second (We always do with these dudes). His flow is outstanding, especially for Lil Baby standards and picks up the pace and momentum of the song immensely, which had only been a Young Adz hook at this point, to the point where when he’s not on the song, it’s a pretty empty song, because it’s just a vaguely rural flute and guitar-lead trap beat with some ugly snares, 808s and farting synths behind a cheap trap skitter, as well as the awful Auto-Tune added to Young Adz that sounds awful as always, but Lil Baby actually has some energy for once, and the cheap, ear-ringing hi-hats being so monotonous when they rapidly skitter during his verse is pretty clever, and his climax of the verse as he slowly gets angrier would work if this was a competent beat. As for lyrics, well, sorry for expanding this song review for more it’s worth, but as with all D-Block Europe songs... we have a showcase for you.

Treat the p***y right, that’s good nookie (That’s good nookie) / Keep killers ‘round me, that’s how it should be (That’s how it should be, yea)

I think I’ve said this before but Young Adz is not very convincing when he’s talking about sex and violence because his delivery is so naive and childish... and sometimes his lyrics are too.

Should-a, would-a, could-a, [gnarly dude] just could be (Just could be)

Or they’re complete word salad. It’s always one of the two.

Yeah, you know the vibe

Not at all.

Yeah, just spoke to my Imam and he said I can get five wives

Okay, if you don’t know, an Imam is basically fulfilling the job of a Christian reverend in a mosque, and apparently the Quran accepts monogamy and polygamy. The more you know, but 1.) that could be wildly disrespectful, I wouldn’t know how to feel as a Muslim in response to that for obvious reasons and 2.) this is also wildly irrelevant.

Onto Lil Baby’s verse and honestly, his punchlines are a lot better because he just has a bunch of non-sequiturs and they seem intentionally funny rather than just missing the mark, like these lines:

Rolls Royce truck come through, that’s anus / Audemars Piguet, Rolex, both stainless

It’s almost like a comedy skit as he says something random or nonsensical then just completely switches topic to something more straightforward and this happens bar after bar.

Steering ‘round the way, I forgot that I’m famous

How? There’s one line here that is actually really clever, where he interpolates “No Guidance” by Chris Brown as if he’s going to start serenading or flowing more melodically, but then cancels himself out completely, interrupting himself so it almost sounds off-beat even, and it was pretty funny on first listen thanks to his delivery.

You got it, girl—I ain’t givin’ her my last name

Lamborghini truck, it got me speeding ‘round the fast lane / Thinking ‘bout the time I hid my bottle in the trash can

...I can’t find a single explanation for what that second line means and I love that.

I’m from South London... Hit a [gnarly dude] up, night-night, now it’s Church somethin’

You’re praying for him after you kill him, right? So you can just have a harsh rhyme with “now I’m prayin’ for him” instead of “Church somethin’”... but surely, Young Adz cares dearly about how his rhymes connect, I mean, he has an internal rhyme in the chorus rhyming “blending” with “blender”.

I’ll eat that p***y in Mayfair

To be fair, saying you’ll desecrate the most expensive property square on London Monopoly is a pretty big flex. Sigh, after re-listening to pick up these lines, the beat is just really incompetent and everything sounds so disjointed. Even Lil Baby’s verse, which I quite liked, suffers from the same issues and Lord forbid these guys have chemistry. Good Lil Baby verse, but this really isn’t worth yourtime.

#2 – “Don’t Call Me Angel” – Ariana Grande, Miley Cyrus and Lana Del Rey

Produced by Max Martin and Ilya – Peaked at #1 in Greece, Hungary and Scotland, and #13 in the US

Now the song that probably deserves more of my attention, the new blockbuster soundtrack single, blah-blah-blah. We went through this already in the Top 10/pre-amble, so there are no reasons to cobble on here as well, let’s get to the song and yeah, put everything else about it aside, this is a pretty decent song. The tribal yet almost melody-box sing-songy melody not having a build-up at all and instead just dropping immediately into the hard bass-heavy trap beat is a pretty good idea and I enjoy the concept of having Ariana, Miley and Lana, three powerful women in the music industry, rejecting purity and asking for men not to call them “angels”, as these are Charlie’s angels, violent, athletic spies in pretty casual clothing, baring weapons at all times; it’s actually pretty impressive how all three singers here emulate the characters from the soundtrack as you’d figure with enough starpower this would be pretty disconnected from the film. All three stick in their little niche realms as well, with Ariana cooing on the chorus with some background belting and pretty Heavenly backing (Pun very intended), as well as subdued Auto-Tuned ad-libs during her verse. You’ve got Miley rapping in a country twang and I’m not going to lie, her verse is really disjointed and could have just not been there, but I do appreciate what it adds to the aggressiveness to the song. The way the beat just drops out entirely and switches to a more atmospheric synth soundscape with a ticking EQ’d out of existence drum beat for Lana Del Rey’s passive-aggressive bridge is great, although I’d like Lana to be a bit more involved, although her sole verse and involvement is probably for the best as her lines are the most powerful and striking here, with the line “I fell from Heaven, now I’m living like a devil” particularly standing out. In conclusion, this is a pretty genuinely great collaboration from the three girls, although Miley’s contributions I’m still unsure on and I feel there’s some empty space in the verses overall, but that chorus is killer, so it’s a pretty cool song and I’m not complaining it’s this high (Even though it’s probably not for long).

Conclusion

The Best of the Week is easily going to Post Malone, Travis Scott, Ozzy Osbourne and watt for “Take What You Want” and it’s not even close, but I’ll give Honourable Mention to Ariana Grande, Miley Cyrus and Lana Del Rey’s “Don’t Call Me Angel”. There’s nothing that is exactly all that bad here other than the trainwreck that is D-Block Europe and Lil Baby’s “Nookie”, which makes them the recipients of Worst of the Week. I regret saying this because I do like Dave but he’s getting the Dishonourable Mention for “Professor X” and that’s all for now. Follow me on Twitter @cactusinthebank for more musical ramblings and I’ll see you next week!

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