Westworld: A Review

These violent delights have violent ends 

Jonathon Nolan and Lisa Joy’s 2016 masterpiece Westworld is one of the must-see series of the year, not only because of the superb acting by the entire cast, fantastic opening credits, and mind-boggling plot, but the blows it delivers to both Hosts and fans.

Warning: Spoilers ahead!

Westworld is a show which poses deep questions surrounding what it means to be human, but concludes through the objectification and manipulation of those less powerful that, apparently, only suffering makes us feel alive. Where, or what, is the limit to human suffering? For Westworld, it seems, there is no limit.

Todd VanDerWerff of Vox captured this perfectly, claiming Westworld argues: “…the only way to truly be conscious, to truly have free will, is to understand that you have no free will. To make your own decisions requires understanding that you were always going to make those decisions, understanding that you are, on some level, programmed to do so. You, like a Host, are just an endless series of loops, and the sooner you realise that, the sooner you can break out of whatever hell you’ve been imprisoned in.”

Jonathon Nolan and Lisa Joy should be congratulated for creating a show where perception is obviously something to be constantly toyed with – I was left questioning “Where are we, when are we?” as much as Dolores (Evan Rachel Wood), Westworld‘s oldest host who believes all is well with the world, or her “dream”.


“I’m in a dream” – Dolores’ (Evan Rachel Wood) view of Westworld

It also appears Westworld may well be a world (and show) full of ambiguities and contradictions –  Jonathan Nolan has said some things in Westworld are “intentionally ambiguous” so, just like the Hosts, fans (myself included) looked for meaning where there was perhaps none, so what does this mean for Bernard’s (Jeffrey Wright) conclusion “Everything is exactly what it is”?

The three timelines theory proved correct, however, so fans were right on the money with that one. And let’s not forget Bernard, Westworld‘s head of programming actually being a Host AND Arnold, Ford’s (Anthony Hopkins) former partner who allegedly committed suicide – I won’t spoil that one for you.

Jeffrey Wright delivered an absolutely flawless performance as Westworld's head of programming/Host Bernard Lowe.

Jeffrey Wright delivered an absolutely flawless performance as Westworld’s head of programming/Host Bernard Lowe.

About seven episodes in, I remember posting a Facebook status update where I couldn’t quite believe the fan theories were true.

It went something like this:


Dolores’ epic line “The Maze is not meant for you” also certainly proved true and in what a bloody fashion!

The series finale ‘The Bicameral Mind’ certainly left me with one of many questions, the chief being:

So, Ford isn’t the villain? And it turns out the ‘Man in Black’ (Ed Harris) a.k.a. William (Jimmi Simpson) is? For me that was a bit of a revelation. I pegged Ford as the villain the moment I saw the HBO trailer, and although I wasn’t entirely surprised to discover William was the Man in Black, I was shocked to learn he was the physical manifestation of the Host’s miseries past and present, his goal as a Delos majority shareholder to roll back the Host’s to nothing more than objects for his like to aimlessly kill and f*** – I mean, he’s more twisted than Charlotte Hale (Tessa Thompson)!

Ed Harris was unnerving as Westworld's villain The Man in Black.

Ed Harris was unnerving as Westworld‘s villain The Man in Black.

William (Jimmi Simpson), an initial reluctant visitor to Westworld and not quite the knight in shining armor (cowboy hat) he first appeared.

William (Jimmi Simpson), an initial reluctant visitor to Westworld and not quite the knight in shining armor (cowboy hat) he first appeared.

So William is one seriously messed-up old fella, I’d just like to say.

Such questions (and revelations) just goes to show the power of (mis)perception.

This is so as it became clear in the finale Ford wanted what Arnold wanted all along, but just wanted the Hosts to have a bit of a backbone courtesy of 30 years of suffering first!

As Genevieve Valentine from Vox has said “…Ford’s known all along that the Hosts were fundamentally aware, and chose to stifle that initiative until he could exploit it.”

In this way, Ford might not be the greatest villain of the series, but he’s certainly the king of Westworld.

Villain or savior? Anthony Hopkins as Robert Ford, founder and creative director of Westworld.

Villain or savior? Anthony Hopkins as Robert Ford, founder and creative director of Westworld.

I did also appreciate the fact “Wyatt” turned out to be Dolores, a narrative engineered by Arnold for her to escape the impending horrors of the park courtesy of Ford (it was a nice try), because she did not end up quite the damsel in distress I feared she would.

Her line to William a.k.a the Man in Black was seriously haunting and foreshadows what will (hopefully) happen in season two – the rise of the machines (no Terminator pun intended, I swear).

…One day, you will perish. You will lie with the rest of your kind in the dirt. Your dreams forgotten, your horrors effaced. Your bones will turn to sand. And upon that sand, a new God will walk. One that will never die. Because this world doesn’t belong to you, or the people that came before. It belongs to someone who’s yet to come.

Thandie Newton’s character Maeve, Westworld’s madam, best captured the spirit of the show. Her discovery that her life is an elaborate lie and with it her sentience, along with all of the deliciously cynical moments and interactions she had with her makers, made her one of the most powerful characters of the series. I thoroughly enjoyed watching her dance the thin line between being a Host who encouraged, rather than bent others to her will, and becoming what she so abhors – the finale gave the audience a taste of this possible path as she declared she only brought bandit Hector (Rodrigo Santoro) and his band of merry-men (or should I say tattooed women Armistice, played by Ingrid Bolso Berdal) along to aid in her escape.


Thandie Newton wowed as Westworld madam Maeve.

And it’s also best not to miss Ford’s monologues.

Hands down the best show of 2016, a show which equally captivates and horrifies you as soon as the fabulous opening credits role, or is it better to say when the rather iconic line “Do you know where you are?” is delivered.

Either way, one of the must-see series of 2016.

2018 can’t come soon enough with Nolan’s announcement that season two will be defined by “chaos”, just as series one was defined by “control”.


The Accountant: A Review

And I’m back! After almost a year away busy writing a dissertation and trying my hand at foreign reporting while on exchange in Finland, here comes my review of Gavin O’Connor’s The Accountant.

Contrary to the largely negative reviews by critics marking this film as “unremarkable”, “unconvincing” and inconsistent (among other things), The Accountant is well worth a watch by anyone who enjoys thriller, action and a tad bit of romance all rolled into a film where every few minutes, it feels, someone gets shot by Christian Wolff (Ben Affleck), a savvy, small-town accountant who is way more complicated than first meets the eye – and that’s not just because of his high-functioning autism.

Wolff is a bit of a mystery (with an albeit colourful backstory), uncooking the books for some of the baddest criminals around, whilst staying off the radar thanks to a mysterious caller who calls him “Dreamboat”.

I’m positive his expert marksman and martial arts skills – courtesy of his equally as mysterious military father who never wanted him to be taken advantage of – did not go to waste either.

Sure, there may be an investigation into his dealings as “The Accountant”, spearheaded by veteran Treasury officer Ray King (J.K. Simmons) and not-so-willing sidekick Marybeth Medina (Cynthia Addai-Robinson), but he stays out of trouble thanks to his skills and our favourite “Caller-ID-restricted” voice.

Wolff has a good thing going in small-town Illinois until he picks up a ‘legitimate’ auditing job for a company called Living Robotics at the behest of the mysterious caller, and this is when the film really starts moving and things start spiraling out of control for Wolff.

Cue Dana Cummings (Anna Kendrick), Living Robotics’ accountant and Wolff’s love-interest, who seems to have stumbled across something fishy.

What I truly enjoyed about this film, however, was not the unique plot – troubled autistic boy becomes sharpshooting, butt-kicking accountant – but the constant flashbacks to Wolff’s past, where we watched him navigate a world where his mother abandoned him and his little brother, leaving it to his father to teach them, rather harshly, to overcome their hardships. Such a past served to deepen Affleck’s character and reveal he was a little conflicted – he wanted to be the savvy accountant of the criminal underground, but hungered for a normal life.

The fact the film’s ‘ah-hah’ moments were teased out throughout the plot, rather than dumped in catastrophic fashion right at the end, also served to make this film enjoyable.

I was on the edge of my seat, nervously chewing my nails, instead of sitting back and waiting for the film to be over.

The only downside to this film, however, is Wolff’s seeming invincibility. You can’t throw that much at one person and then not see them crack. One brief breakdown and rough childhood flashbacks are simply not enough.

Overall, The Accountant is a film that, like its characters, is far more than first meets the eye and well worth the watch because of the mystery it both deepens and solves.