Thursday 30 August 2018
Update
You may have noticed I haven't posted for a while, which is partly because of being away last weekend and partly because of life being (temporarily) busier than usual. This state of affairs will be continuing for another week or so, although I hope to sneak out the odd blog post, but fret ye not: normal blogging service will then resume.
Friday 24 August 2018
Buffy the Vampire Slayer: Potential
"You're not special. You're extraordinary."
Not all Buffy episodes can stand out. Yes, Buffy is an extraordinary series, but you can't fill 22 episodes a year without pausing for breath. This episode pretty much admits that, as Buffy tells us the First is in temporary, plot-convenient "remission" So we get a somewhat going-through-the motions in which Buffy teaches the potentials how to fight, Dawn thinks that for a moment she might be a potential, and Anya gets some cracking lines.
It's not an episode, in contrast to usual, which lingers in the memory or adds many memorable scenes, that wonderful moment at the end excepted where Xander and Dawn get this wonderful scene together about being the only two Scoobies without superpowers. It adds nothing to the arc either, really, although it's obvious that Andrew is gradually shifting as a character from threat to comic relief.
Still, even an eminently skippable episode is never actively bad, and certainly kept me entertained. I still worry that the presence of the potentials means we spend a bit less time with the characters we know and love, yes, but I'm very much warming to this season.
Not all Buffy episodes can stand out. Yes, Buffy is an extraordinary series, but you can't fill 22 episodes a year without pausing for breath. This episode pretty much admits that, as Buffy tells us the First is in temporary, plot-convenient "remission" So we get a somewhat going-through-the motions in which Buffy teaches the potentials how to fight, Dawn thinks that for a moment she might be a potential, and Anya gets some cracking lines.
It's not an episode, in contrast to usual, which lingers in the memory or adds many memorable scenes, that wonderful moment at the end excepted where Xander and Dawn get this wonderful scene together about being the only two Scoobies without superpowers. It adds nothing to the arc either, really, although it's obvious that Andrew is gradually shifting as a character from threat to comic relief.
Still, even an eminently skippable episode is never actively bad, and certainly kept me entertained. I still worry that the presence of the potentials means we spend a bit less time with the characters we know and love, yes, but I'm very much warming to this season.
Thursday 23 August 2018
Angel: Soulless
“Boning your mom and trying to kill your dad? There should be a play...”
And suddenly things get brilliant. The season was looking a bit aimless for a while, I admit I spent a couple of episodes getting a bit worried, but this episode pays off a lot of the things that seemed aimless at the time and does so in a way that gives each and every character some real development. The “previously on” at the beginning makes it clear just how much of a build-up there’s been, with the Gunn/Fred/Wes triangle and the Cordy/Connor shagging.
Cleverly, the pre-credits scene is entirely devoted to bugging up Angelus and how devious and evil he is, how he will use his verbal dexterity to sow discord and weakness so he can kill everyone. And the episode sees this largely play out as Angelus picks at various scabs. The love triangle is an obvious one, quickly leading to Gunn catching Wes kissing Fred, fisticuffs between the two men and Gunn accidentally hitting Fred. Then there’s the outing of the Cordy/Connor comshocking and of course the easy e ploitation of the ever-snotty Connor who, revealingly, sees Angelus as his real father; Angel is “just something that you’re forced to wear”.
Worse, though, is the eexploitation of Cordy’s general ugliness; he will give them information to save the world and he can have her for whatever depraved purposes he wishes. Ouch. Of course, his information proves useless, but we get the definite sense that he’s going to be asserting his claim.
And he certainly can, as the cliffhanger shows: Angel’s soul is missing, and it looks as though he’ll be sticking around for a while...
And suddenly things get brilliant. The season was looking a bit aimless for a while, I admit I spent a couple of episodes getting a bit worried, but this episode pays off a lot of the things that seemed aimless at the time and does so in a way that gives each and every character some real development. The “previously on” at the beginning makes it clear just how much of a build-up there’s been, with the Gunn/Fred/Wes triangle and the Cordy/Connor shagging.
Cleverly, the pre-credits scene is entirely devoted to bugging up Angelus and how devious and evil he is, how he will use his verbal dexterity to sow discord and weakness so he can kill everyone. And the episode sees this largely play out as Angelus picks at various scabs. The love triangle is an obvious one, quickly leading to Gunn catching Wes kissing Fred, fisticuffs between the two men and Gunn accidentally hitting Fred. Then there’s the outing of the Cordy/Connor comshocking and of course the easy e ploitation of the ever-snotty Connor who, revealingly, sees Angelus as his real father; Angel is “just something that you’re forced to wear”.
Worse, though, is the eexploitation of Cordy’s general ugliness; he will give them information to save the world and he can have her for whatever depraved purposes he wishes. Ouch. Of course, his information proves useless, but we get the definite sense that he’s going to be asserting his claim.
And he certainly can, as the cliffhanger shows: Angel’s soul is missing, and it looks as though he’ll be sticking around for a while...
Sunday 19 August 2018
Man of Steel (2013)
"What are you smiling about, Captain?"
"Nothing, Sir. I just think he's kind of hot."
Usually I'd write a review based on the general premise of the film in question being good, bad, or indifferent. That's a rather challenging thing to do here. I mean, yes, ok, the film is good. It works. It's a solid start to the DC universe. But there are flaws, real flaws. The film gets away with it, in no small measure because of a solid script by the ever-dependable David S. Goyer and, interestingly, Christopher Nolan and the inspired casting of (thankfully moustache-free) Henry Cavill. But...
Here's the thing. Zack Snyder is technically a superb director. The whole thing is well shot in the extreme, even if it's CGI'd to death. It looks amazing. But it all feels (Russell Crowe as Jor-El aside, oddly) not quite persnal enough. There's just enough charm to get away with, but no more. And the direction: yes, it's clever. But at the expense of the storytelling- not enough to damage the film, but I'd say Snyder needed to watch it if not for the fact that #MeToo seems to make any such advice irrelevant.
There's a lot to praise, though. Traditionally dull Krypton is given CGI alien beasts of burden, an internal politics and a genetically caste-based culture against which Kal-El's birth is a rebellion in the name of freedom. I like that. I also like the characterisation of Zod here; he isn't a moustache-twirling baddie but a general, with his fanatical followers, who only wants to save Krypton. At the expense of our little human species, naturaally.
Lois Lane is presented well here, as a tenacious journalist who figures out who Clark is early on, saving us an awful lot of tiresomeness. Perry White is a bit more nuanced. Jimmy Olsen, er, isn't in the film. But it's a well-done and thoughtful approach to Superman's origins and the ideal first film for the new DC Cinematic Universe. They need to run with it, so what next. Batman? The Dark Knight? No, those are both taken. So how about Batman: The Dark Knight? Yes. Colons are good. And the next film is in no way going to be a disaster. Right?
"Nothing, Sir. I just think he's kind of hot."
Here's the thing. Zack Snyder is technically a superb director. The whole thing is well shot in the extreme, even if it's CGI'd to death. It looks amazing. But it all feels (Russell Crowe as Jor-El aside, oddly) not quite persnal enough. There's just enough charm to get away with, but no more. And the direction: yes, it's clever. But at the expense of the storytelling- not enough to damage the film, but I'd say Snyder needed to watch it if not for the fact that #MeToo seems to make any such advice irrelevant.
There's a lot to praise, though. Traditionally dull Krypton is given CGI alien beasts of burden, an internal politics and a genetically caste-based culture against which Kal-El's birth is a rebellion in the name of freedom. I like that. I also like the characterisation of Zod here; he isn't a moustache-twirling baddie but a general, with his fanatical followers, who only wants to save Krypton. At the expense of our little human species, naturaally.
Lois Lane is presented well here, as a tenacious journalist who figures out who Clark is early on, saving us an awful lot of tiresomeness. Perry White is a bit more nuanced. Jimmy Olsen, er, isn't in the film. But it's a well-done and thoughtful approach to Superman's origins and the ideal first film for the new DC Cinematic Universe. They need to run with it, so what next. Batman? The Dark Knight? No, those are both taken. So how about Batman: The Dark Knight? Yes. Colons are good. And the next film is in no way going to be a disaster. Right?
Saturday 18 August 2018
X-Men: Days of Future Past (2014)
“Humanity has always feared what is different,"
I've read a lot of Chris Claremont's run on X-Men (the comic book, of course) but not this seminal storyline although, of course I have a broad awareness of it. It’s a good choice of storyline for the next film and, course, offers a great opportunity for a bit of sneaky retconning; welcome back, Jean and Scott.
It’s all very much what we Doctor Who fans call “timey-wimey”, of course; Wolverine is sent back in time to 1973, with shades of Life on Mars, in order to prevent a Sentinel-riven hellish dystopia, and we follow the twists and turns as he does so. It’s an enjoyable concept and one not slavishly following the comics, as we find a disillusioned Charles who has clearly been taking hairstyle tips from me, while Magneto’s allegiances are again ambiguous and interesting. Michael Fassbender is, of course, superb, and it’s a shame we don’t see more of Ian McKellen but this film is crammed to the rafters with characters jostling for something to do.
The cast is superb, to the point that I’ve had to leave the likes of Elliot Page, Halle Berry and Famke Janssen off the tags through lack of space as the boys, alas, drive the plot and hog the screen time. There are some magnificent performances, though, the highlight being the interaction of James McAvoy and Patrick Stewart as the two Xaviers talk. Plus of course we have cameos from so many characters including an awesome-looking Bishop, Kitty Pryde and Colossus, and Peter Dinklage being superb as the villainous yet idealistic Bolivar Trask.
This may not be the greatest film of the series but it’s solidly entertaining, well-acted and full of surprises, so the Utopian ending comes as a surprise. The post-credits sequence suggests trouble to come, though...
It’s all very much what we Doctor Who fans call “timey-wimey”, of course; Wolverine is sent back in time to 1973, with shades of Life on Mars, in order to prevent a Sentinel-riven hellish dystopia, and we follow the twists and turns as he does so. It’s an enjoyable concept and one not slavishly following the comics, as we find a disillusioned Charles who has clearly been taking hairstyle tips from me, while Magneto’s allegiances are again ambiguous and interesting. Michael Fassbender is, of course, superb, and it’s a shame we don’t see more of Ian McKellen but this film is crammed to the rafters with characters jostling for something to do.
The cast is superb, to the point that I’ve had to leave the likes of Elliot Page, Halle Berry and Famke Janssen off the tags through lack of space as the boys, alas, drive the plot and hog the screen time. There are some magnificent performances, though, the highlight being the interaction of James McAvoy and Patrick Stewart as the two Xaviers talk. Plus of course we have cameos from so many characters including an awesome-looking Bishop, Kitty Pryde and Colossus, and Peter Dinklage being superb as the villainous yet idealistic Bolivar Trask.
This may not be the greatest film of the series but it’s solidly entertaining, well-acted and full of surprises, so the Utopian ending comes as a surprise. The post-credits sequence suggests trouble to come, though...
Thursday 16 August 2018
The Night Caller (1965)
"And if that is an atom bomb, and you drop it, I'll 'ave you on a charge!"
Yes, the premise really is as said on the poster, if not quite as lurid. In truth, this is an odd conflation of Quatermass II and Alfie and very, very, mid-'60s. If that sounds like an extremely bizarre concoction, it is.
A very young John Saxon stars, and his acting is such that I'm not 100% sure whether he's trying to do a British accent or not. The predictable cast of British character actors add solid support, but the film feels oddly disjointed in spite of some good scenes- the dialogue between the parents of one of the missing girls is delightfully real and naturalistic, and the downbeat ending is deeply effective. Lots of the characters feel real yet, Saxon and Patricia Haines' characters aside, there's little continuity between the cast of the first part of the film in the scientific establishment and the police procedural which then ensues, and that means the film lacks a certain unity. It's also undeniable that, while this is certainly science fiction, for most of the film we see nothing of the alien but its claw, and the final reveal of its appearance is disappointing. It's all very odd, very interesting, but doesn't quite work.
It's also very much of its time, which adds to the interest. Everybody smokes, and Aubrey Morris plays a gay bookseller in those dark pre-1967 days, with his bitterly nuanced relations with the police. Worth seeing for those of us with a particular interest in these sorts of films although not, it must be said, for everyone.
A very young John Saxon stars, and his acting is such that I'm not 100% sure whether he's trying to do a British accent or not. The predictable cast of British character actors add solid support, but the film feels oddly disjointed in spite of some good scenes- the dialogue between the parents of one of the missing girls is delightfully real and naturalistic, and the downbeat ending is deeply effective. Lots of the characters feel real yet, Saxon and Patricia Haines' characters aside, there's little continuity between the cast of the first part of the film in the scientific establishment and the police procedural which then ensues, and that means the film lacks a certain unity. It's also undeniable that, while this is certainly science fiction, for most of the film we see nothing of the alien but its claw, and the final reveal of its appearance is disappointing. It's all very odd, very interesting, but doesn't quite work.
It's also very much of its time, which adds to the interest. Everybody smokes, and Aubrey Morris plays a gay bookseller in those dark pre-1967 days, with his bitterly nuanced relations with the police. Worth seeing for those of us with a particular interest in these sorts of films although not, it must be said, for everyone.
Wednesday 15 August 2018
Buffy the Vampire Slayer: Showtime
“I’m the thing that monsters have nightmares about...”
The season is, I think, on an upswing, with a clear threat and big stuff happening. It’s just that, we’ll, can’t we cull a few potentials please?
Part two of an implicit two parter plays out this episode as Buffy finally defeats the Turok-Han, beheading it with the help of some handy CGI. It’s not just about the fighting, though; a clever flashback shows us that the point was also to raise some much-needed morale for the growing and increasingly annoying presence of loads and loads of “potentials”. It’s a well-crafted and strong episode, but are we going to have a house full of teenage girl redshirts for the rest of the final season?
Only one of the potentials- Kennedy- is getting fleshed out, and it’s clear that she, older than the others, is being developed as a love interest for Willow, as part of her gradual healing process. On a similar note Willow also gets to use a shielding spell, using magic in combat for the first time since all that unpleasantness.
Meanwhile Andrew is shifting into the role of comic relief, explaining to an unimpressed Dawn how Timothy Dalton is an underrated Bond. All this is very Buffy. Perhaps more pertinent is Giles’ and Anya’s little sideshow, where they consult a convenient oracle about the First’s weaknesses, only to find that it has none and cannot be defeated. Ouch. Even worse, the reason the First is only striking now is precisely because of the Scoobies’ decision to resurrect Buffy last season- will we be getting any more detail on this? Either way, it’s a bombshell; bringing Buffy back has potentially doomed the world. I’m sure there will be reverberations.
The season is, I think, on an upswing, with a clear threat and big stuff happening. It’s just that, we’ll, can’t we cull a few potentials please?
Sunday 12 August 2018
Final Destination (2000)
“In death, there are no accidents, no coincidences, no mishaps, no escape."
I was a little wary to see a "horror" film with so many cast members and so many signifiers from all those godawful teen "comedy" movies that so blighted the turn of the millennium: if there's one film I can assure you I will never, ever blog, it's There's Something About Mary, the worst film I've ever seen. And yet this film, by not trying to be funny, manages to simultaneously be pretty decent, if not great, and feature Seann William Scott. I never imagined such a thing would be possible.
The concept is excellent, though; seven survivors of a plane crash have dodged their appointment with the Grim Reaper, but death s after them, inexorably, suspensefully and, on occasion, hilariously. My favourite death is Mrs Lewton's, delightfully thorough though it is. Yours may differ. But there's plenty of thrills suspense, just about enough of it to justify the inclusion of a character called "Billy Hitchcock".And I wouldn't particularly expect to see this as an in-flight movie.
For a film with no real stars and with a pretty obscure director this film did pretty well and, although it has no real stars and no great budget, it holds up passably well today. Death itself is certainly a pretty good horror villain, and the whole concept is sufficient excuse to give us a parade of deaths the like of which we hadn't seen since The Omen. This is a solid and entertaining horror which doesn't quite fully ex[loit a great concept but makes a decent stab.
The concept is excellent, though; seven survivors of a plane crash have dodged their appointment with the Grim Reaper, but death s after them, inexorably, suspensefully and, on occasion, hilariously. My favourite death is Mrs Lewton's, delightfully thorough though it is. Yours may differ. But there's plenty of thrills suspense, just about enough of it to justify the inclusion of a character called "Billy Hitchcock".And I wouldn't particularly expect to see this as an in-flight movie.
For a film with no real stars and with a pretty obscure director this film did pretty well and, although it has no real stars and no great budget, it holds up passably well today. Death itself is certainly a pretty good horror villain, and the whole concept is sufficient excuse to give us a parade of deaths the like of which we hadn't seen since The Omen. This is a solid and entertaining horror which doesn't quite fully ex[loit a great concept but makes a decent stab.
Bend It Like Beckham (2002)
"Even these mosquito bites will look like juicy, juicy mangoes..”
I used to follow football a bit. At least international. Then the 2010 World Cup happened and I stopped watching football in disgust at England’s shameful display. The only football match I’ve watched since 2010 was the recent World Cup semi-final, and even that was only because it happened to be on. And I Never was anything more than a casual follower.
So the nice little fourth wall breaking bit at the start, for me, was a nice but if nostalgia for the days when I recognised the days of players and pundits- whatever happened to Alan Hansen? It’s a strong, fun start to a fun little film.
Yes, the film is formulaic to a large extent. A girl from a traditional Punjabi family struggles to get her traditional Sikh parents to accept what she wants to do with her life, football; it’s all a melodrama, albeit at the more restrained end; and there are lots of little references to culture clashes, racism, and sexism within the Indian and gora communities. It’s all done so well though, and the cast is superb, even if you do wish that Keira Knightley would just bloody have something to eat. All this to a soundtrack of Basement Jaxx and Mel C; you can certainly tell this is 2002. Such innocent days, long before Brexit, and when we all thought US presidents couldn’t get any worse than Bush. Hah.
Also, it’s about fathers and daughters, which I like. This film may not be my usual fare but Mrs Llamastrangler and I very much enjoyed it.
So the nice little fourth wall breaking bit at the start, for me, was a nice but if nostalgia for the days when I recognised the days of players and pundits- whatever happened to Alan Hansen? It’s a strong, fun start to a fun little film.
Yes, the film is formulaic to a large extent. A girl from a traditional Punjabi family struggles to get her traditional Sikh parents to accept what she wants to do with her life, football; it’s all a melodrama, albeit at the more restrained end; and there are lots of little references to culture clashes, racism, and sexism within the Indian and gora communities. It’s all done so well though, and the cast is superb, even if you do wish that Keira Knightley would just bloody have something to eat. All this to a soundtrack of Basement Jaxx and Mel C; you can certainly tell this is 2002. Such innocent days, long before Brexit, and when we all thought US presidents couldn’t get any worse than Bush. Hah.
Also, it’s about fathers and daughters, which I like. This film may not be my usual fare but Mrs Llamastrangler and I very much enjoyed it.
Saturday 11 August 2018
The Flintstones (1994)
“Yabba dabba doo!”
This film may be technically set in the Stone Age, vaguely defined, but we all know it's actually set in those early years of the '60s that were very much still the '50s. It's to the credit of this '90s adaptation that, seen today, it’s very Mad Men in its ‘50s social mores, although in this case without the racism.
This is a very faithful adaptation, right up to the point of recreating variations of the original cartoon title sequence several times. It’s perfectly cast with John Goodman and a just pre-retirement Rick Moranis. It’s so well-realised, with copious dinosaur animatronics from the school of Jim Henson, that this is a rare example of a film with a rubbish script being worth seeing. It’s rare that it’s worth polishing a turd, but here the polishing is truly magnificent.
The plot is ok- Free gets promoted, betraying Barney in the process, living a life of luxury until it turns out that he’s being set up by the villainous Cliff, a splendidly and surprisingly villainous Kyle MacLachlan. Oh, and Halle Berry is the early 1960s sexy secretary, done with just enough of a nod and a wink.
Yes, the script is pants. It really is. And this may be a rare example of an adaptation being too faithful to the source material. But the whole thing looks amazing, the casting is inspired, and the whole thing just feels right.
It’s worth watching, honest. You won’t laugh much, but you’ll feel a nice nostalgic glow.
This is a very faithful adaptation, right up to the point of recreating variations of the original cartoon title sequence several times. It’s perfectly cast with John Goodman and a just pre-retirement Rick Moranis. It’s so well-realised, with copious dinosaur animatronics from the school of Jim Henson, that this is a rare example of a film with a rubbish script being worth seeing. It’s rare that it’s worth polishing a turd, but here the polishing is truly magnificent.
The plot is ok- Free gets promoted, betraying Barney in the process, living a life of luxury until it turns out that he’s being set up by the villainous Cliff, a splendidly and surprisingly villainous Kyle MacLachlan. Oh, and Halle Berry is the early 1960s sexy secretary, done with just enough of a nod and a wink.
Yes, the script is pants. It really is. And this may be a rare example of an adaptation being too faithful to the source material. But the whole thing looks amazing, the casting is inspired, and the whole thing just feels right.
It’s worth watching, honest. You won’t laugh much, but you’ll feel a nice nostalgic glow.
Friday 10 August 2018
Angel: Awakening
“What is it about evil that jacks up the IQ points?”
Ah, I begin to see where this season may be going...
The whole episode is a splendid piece of misdirection; first Angelus is coming back, then he isn't, then he is. And it's happening because Angel and Cordy finally get their moment of perfect happiness is perfect. Shame it was (mostly) all a dream, though; not sure how I feel about that. Still, putting that Dallas moment to one side, it's a good episode. And even the dream has a twist in Angelus returning precisely when he's no longer needed.
Interesting that the episode starts with Wes as only semi-part of the gang. And Connor has never been such an obtuse, annoying and unlikeable brat. But the episode oozes camaraderie, mainly because of Angel's charisma and will to keep the gang together- precisely the things that they've just lost.
It;s ironic, I suppose; this episode has one job, to turn Angel int Angelus at the end. But in order to get there it trolls us, manipulates us, just like Angelus himself. It's effectively done, if evil. And I'm getting the distinct impression that the Beast may not be the season big bad after all...
Ah, I begin to see where this season may be going...
The whole episode is a splendid piece of misdirection; first Angelus is coming back, then he isn't, then he is. And it's happening because Angel and Cordy finally get their moment of perfect happiness is perfect. Shame it was (mostly) all a dream, though; not sure how I feel about that. Still, putting that Dallas moment to one side, it's a good episode. And even the dream has a twist in Angelus returning precisely when he's no longer needed.
Interesting that the episode starts with Wes as only semi-part of the gang. And Connor has never been such an obtuse, annoying and unlikeable brat. But the episode oozes camaraderie, mainly because of Angel's charisma and will to keep the gang together- precisely the things that they've just lost.
It;s ironic, I suppose; this episode has one job, to turn Angel int Angelus at the end. But in order to get there it trolls us, manipulates us, just like Angelus himself. It's effectively done, if evil. And I'm getting the distinct impression that the Beast may not be the season big bad after all...
Monday 6 August 2018
Buffy the Vampire Slayer: Bring on the Night
“Sorry to barge in. Afraid we have a slight... apocalypse.”
This is, there's no doubt about it, an Important Episode. In fact, it's quite bewilderingly eventful and changes the status quo quite dramatically. I know it's just pre-Christmas (with the briefest of nods to the season) and there would have been a wait of a couple of weeks until the next episode, but so much happens, it ends in Buffy doing a big speech, it's all rather well done but still trying to squeeze in an awful lot, and feels awfully like more of a mid-season break is about to happen.
Still, stuff happens, and while episodes with loads to do are never amongst the greatest they seldom disappoint. This episode certainly doesn’t, and is something of an assault on the senses. Giles’ Return is somewhat overshadowed by the fact he brought with him two “potential” slayers- Kennedy and the British and somewhat anonymous Annabelle and Molly. It seems the First is out to destroy the entire infrastructure of slayerdom, destroying the Watchers’ Council (so what were Travis and co up to when we last saw them?) and all the potential slayers, hence all those scenes of running girls being pursued by monks. One has to ask why no previous Big Bad has though of doing this over the last several centuries. Still, for now, there are four extra people in Buffy’s crowded house and the whole dynamic is suddenly very different.
Oh, and the First is busy pretending to be Joyce. Drusilla and all sorts as it tortures Spike, Who is a is to endure because of Buffy’s faith in him; corny but it works.
And that ancient creature resurrected last episode was a Turok-Han, a kind of Neanderthal Vampire which so far seems unbeatable, although if it’s extinct there must be a reason why? Still, Buffy doesn’t win, and is badly hurt. Cue an episode ending with a big inspiring speech then. It all dies the trick, but things suddenly feel rather odd.
This is, there's no doubt about it, an Important Episode. In fact, it's quite bewilderingly eventful and changes the status quo quite dramatically. I know it's just pre-Christmas (with the briefest of nods to the season) and there would have been a wait of a couple of weeks until the next episode, but so much happens, it ends in Buffy doing a big speech, it's all rather well done but still trying to squeeze in an awful lot, and feels awfully like more of a mid-season break is about to happen.
Still, stuff happens, and while episodes with loads to do are never amongst the greatest they seldom disappoint. This episode certainly doesn’t, and is something of an assault on the senses. Giles’ Return is somewhat overshadowed by the fact he brought with him two “potential” slayers- Kennedy and the British and somewhat anonymous Annabelle and Molly. It seems the First is out to destroy the entire infrastructure of slayerdom, destroying the Watchers’ Council (so what were Travis and co up to when we last saw them?) and all the potential slayers, hence all those scenes of running girls being pursued by monks. One has to ask why no previous Big Bad has though of doing this over the last several centuries. Still, for now, there are four extra people in Buffy’s crowded house and the whole dynamic is suddenly very different.
Oh, and the First is busy pretending to be Joyce. Drusilla and all sorts as it tortures Spike, Who is a is to endure because of Buffy’s faith in him; corny but it works.
And that ancient creature resurrected last episode was a Turok-Han, a kind of Neanderthal Vampire which so far seems unbeatable, although if it’s extinct there must be a reason why? Still, Buffy doesn’t win, and is badly hurt. Cue an episode ending with a big inspiring speech then. It all dies the trick, but things suddenly feel rather odd.
Sunday 5 August 2018
The Wicker Man (1973)
“We’re a deeply religious people...”
This is the second time I've seen this film, and the subtext truly grows with reviewing. The tale of Sergeant Howie (decent Scottish accent from Edwood Woodwood, says the Englishman), policeman, virgin and devout Christian who investigates a young girl’s disappearance on a Pagan island in the Highlands of Scotland that turns out to be a terrifying trap.
We all know the simple plot, I’m sure; what matters is how it unfolds until the iconic ending, with Howie slowly finding how very different this island is. But this is also a film about, to use a contemporary phrase, the “permissive society”; Howie stands for 1950s Christian values and is horrified by the free love and young people’s music he finds everywhere. Interestingly, the film presents neither side with much positivity- Howie may be a prig, and the islanders a lot more fun, but there’s a very dark practice at the heart of their beliefs.
Interest to declare; I’m an atheist, but one with no particular beef with Christianity, itself a huge range of beliefs. But I’m happy to see this film not falling into the lazy thinking that Christianity is bad and vaguely remembered Paganism was much cuddlier and more tolerant; that’s a very shaky notion. Pagans may have sometimes (not always) been more relaxed about sex, and less keen to police the beliefs of others, but there were some very dark rituals and, sadly unaddressed here, just as much institutional sexism. None of which means that a singing, naked Britt Ella d is not, er, pleasant to behold.
Christopher Lee’s role in this, his favourite of his own films, is surprisingly modest but essential for the backstory, and his charismatic presence is central to everything. But Edward Woodward gives a less likeable but superbly convincing performance which makes him the true hero of the film. One of this country’s greatest cinematic achievements, then, and certainly a film which rewards repeated viewings.
We all know the simple plot, I’m sure; what matters is how it unfolds until the iconic ending, with Howie slowly finding how very different this island is. But this is also a film about, to use a contemporary phrase, the “permissive society”; Howie stands for 1950s Christian values and is horrified by the free love and young people’s music he finds everywhere. Interestingly, the film presents neither side with much positivity- Howie may be a prig, and the islanders a lot more fun, but there’s a very dark practice at the heart of their beliefs.
Interest to declare; I’m an atheist, but one with no particular beef with Christianity, itself a huge range of beliefs. But I’m happy to see this film not falling into the lazy thinking that Christianity is bad and vaguely remembered Paganism was much cuddlier and more tolerant; that’s a very shaky notion. Pagans may have sometimes (not always) been more relaxed about sex, and less keen to police the beliefs of others, but there were some very dark rituals and, sadly unaddressed here, just as much institutional sexism. None of which means that a singing, naked Britt Ella d is not, er, pleasant to behold.
Christopher Lee’s role in this, his favourite of his own films, is surprisingly modest but essential for the backstory, and his charismatic presence is central to everything. But Edward Woodward gives a less likeable but superbly convincing performance which makes him the true hero of the film. One of this country’s greatest cinematic achievements, then, and certainly a film which rewards repeated viewings.
Saturday 4 August 2018
Justice League (2017)
“What are your superpowers again?”
“I’m rich.”
I'd intended to start this blog with a quip about that notorious moustache. After all, I mentioned it to Mrs Llamastrangler and she was amused to find the CGI on Henry Cavill’s upper lip so very obvious. But sadly I can’t continue along those lines as this film is an utter mess. It’s a turf, a stinker, a mind-bogglingly bad film. What went wrong?
D.C. can make good films. I enjoyed Suicide Squad and Wonder Woman. But they simply have no Kevin Fiege. There no quality control, no consistency of tone, no building up the characters in their individual films first. So we get these big epic films about iterations we don’t really know of characters who have barely been introduced to us in this version of the D.C. Universe. The pacing is atrocious and the script is lacking in sparkle. And the odd wittty line, presumably late additions by Joss Whedon after Zack Snyder was sacked, just jars with the po-faced and dull tone. This is a film about superheroes that fails to be fun. That’s quite an achievement.
Oh, some of the cast are good. Henry Cavill is well cast, and Ezra Miller is an inspired choice as an awkward young Flash. But Ben Affleck is both bad and wrong as Batman, Jeremy Irons is good but miscast as Alfred, and Ciaran Hinds gives us a generic and forgettable villain. And Jason Momoa’s Aquaman, incredibly, gets most of the best lines. And the amount of exposition just beggars belief. And don’t get me started on the sheer quantity of poor CGI.
This is, hands down, the worst superhero film I’ve ever seen.
“I’m rich.”
D.C. can make good films. I enjoyed Suicide Squad and Wonder Woman. But they simply have no Kevin Fiege. There no quality control, no consistency of tone, no building up the characters in their individual films first. So we get these big epic films about iterations we don’t really know of characters who have barely been introduced to us in this version of the D.C. Universe. The pacing is atrocious and the script is lacking in sparkle. And the odd wittty line, presumably late additions by Joss Whedon after Zack Snyder was sacked, just jars with the po-faced and dull tone. This is a film about superheroes that fails to be fun. That’s quite an achievement.
Oh, some of the cast are good. Henry Cavill is well cast, and Ezra Miller is an inspired choice as an awkward young Flash. But Ben Affleck is both bad and wrong as Batman, Jeremy Irons is good but miscast as Alfred, and Ciaran Hinds gives us a generic and forgettable villain. And Jason Momoa’s Aquaman, incredibly, gets most of the best lines. And the amount of exposition just beggars belief. And don’t get me started on the sheer quantity of poor CGI.
This is, hands down, the worst superhero film I’ve ever seen.
Thursday 2 August 2018
Angel: Long Day’s Journey
“We need Angelus..."
Obviously there's a lot of plot here- this big, apocalyptic demon is still loose in LA and up to stuff, rather fortunately giving our heroes room to mope and have character stuff happen, making this a good episode. It's unclear where all this is heading, though; it's done with skill and wit, but at this point the season arc feels a little... aimless.
Character-wise, though, a lot happens, not least a load of awkward but unavoidable conversations between Angel and Cordy. As predicted, Wes is now part of the gang again, smoothed over by a subtle comment by Lorne, and the verbal sparring between him and Gunn is toned down accordingly. Instead, Gunn feels very uncomfortable with Fred and Wes spending so much time researching together.
Oh, and our electric friend Gwen is back; it seems she wasn’t just a one-of character after all. I bet she dies next episode as her plot function seems to be for Angel to ostentatiously spend time with her to make Cordelia jealous.
Deliciously, though, all these little arguments between the characters add extra frisson to the probability that one of the gang is a fifth columnist working with the Beast, currently very busy murdering a bunch of typically Buffyverse eccentric yet powerful cultists of the god Ra, so he can blot out the Sun and make a more demon-friendly LA, as you do. And he succeeds completely, with a little help from his friend. Who is, it seems... Angelus. That explains Angel’s blackouts and gives us s better inkling of exactly where this season is going. We finish with Wes proposing a rather daring plan. Good stuff, but I have no idea what the season arc is going to look like at nearly the halfway point. Is good characterisation of scriptwriting hiding a cobbled together arc or are they being clever?
Obviously there's a lot of plot here- this big, apocalyptic demon is still loose in LA and up to stuff, rather fortunately giving our heroes room to mope and have character stuff happen, making this a good episode. It's unclear where all this is heading, though; it's done with skill and wit, but at this point the season arc feels a little... aimless.
Character-wise, though, a lot happens, not least a load of awkward but unavoidable conversations between Angel and Cordy. As predicted, Wes is now part of the gang again, smoothed over by a subtle comment by Lorne, and the verbal sparring between him and Gunn is toned down accordingly. Instead, Gunn feels very uncomfortable with Fred and Wes spending so much time researching together.
Oh, and our electric friend Gwen is back; it seems she wasn’t just a one-of character after all. I bet she dies next episode as her plot function seems to be for Angel to ostentatiously spend time with her to make Cordelia jealous.
Deliciously, though, all these little arguments between the characters add extra frisson to the probability that one of the gang is a fifth columnist working with the Beast, currently very busy murdering a bunch of typically Buffyverse eccentric yet powerful cultists of the god Ra, so he can blot out the Sun and make a more demon-friendly LA, as you do. And he succeeds completely, with a little help from his friend. Who is, it seems... Angelus. That explains Angel’s blackouts and gives us s better inkling of exactly where this season is going. We finish with Wes proposing a rather daring plan. Good stuff, but I have no idea what the season arc is going to look like at nearly the halfway point. Is good characterisation of scriptwriting hiding a cobbled together arc or are they being clever?
Wednesday 1 August 2018
Buffy the Vampire Slayer: Never Leave Me
"That.s the worst attempt at pig slaughtering I've ever seen..."
So the big bad gets a name: the First, a one off baddie from way back in Season Two, which I blogged many years ago when I was single and childless. Something tells me this time round that snow and Christmas miracles may be in short supply.
This is a big arc episode with a job to do in moving the arc plot forward- the Scoobies need to learn who they’re up against, Andrew needs to become a comic relief prisoner of theirs (love the interrogations) and Spike needs to be captured by those monks for his blood to be used to resurrect that ancient vampire thing. All of this is achieved with some witty dialogue, a top comedy scene where Willow totally owns Andrew, and a lot of deep and superb dialogue between Buffy and Spike, who now knows self-loathing.
The cliffhanger with Giles isn’t resolved; we’re left hanging a while longer. But Quentin Travers and the WTchers’ Council appear, they’re hiding stuff from Buffy, and they’re off to Sunnydale to face the First. They all wear extremely old-fashioned, tweedy clothes that were last popular, pheasant-shooting types aside, with my grandparents’ generation, the ones who fought in the war. As late as 2003 this is a stereotype Americans have of the British, arguably much less so now.
Meanwhile, we get to see the Principal being cool but also see him discovering the body of The unsuccessfully sacrificed Jonathan, whom he buries. We now know there’s more to him than it seems... but what?
A very functional episode on what it has to do, then. But Buffy does functional with aplomb.
So the big bad gets a name: the First, a one off baddie from way back in Season Two, which I blogged many years ago when I was single and childless. Something tells me this time round that snow and Christmas miracles may be in short supply.
This is a big arc episode with a job to do in moving the arc plot forward- the Scoobies need to learn who they’re up against, Andrew needs to become a comic relief prisoner of theirs (love the interrogations) and Spike needs to be captured by those monks for his blood to be used to resurrect that ancient vampire thing. All of this is achieved with some witty dialogue, a top comedy scene where Willow totally owns Andrew, and a lot of deep and superb dialogue between Buffy and Spike, who now knows self-loathing.
The cliffhanger with Giles isn’t resolved; we’re left hanging a while longer. But Quentin Travers and the WTchers’ Council appear, they’re hiding stuff from Buffy, and they’re off to Sunnydale to face the First. They all wear extremely old-fashioned, tweedy clothes that were last popular, pheasant-shooting types aside, with my grandparents’ generation, the ones who fought in the war. As late as 2003 this is a stereotype Americans have of the British, arguably much less so now.
Meanwhile, we get to see the Principal being cool but also see him discovering the body of The unsuccessfully sacrificed Jonathan, whom he buries. We now know there’s more to him than it seems... but what?
A very functional episode on what it has to do, then. But Buffy does functional with aplomb.
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