“IS THERE ANYONE IN ROME WHO HAS NOT SLEPT WITH MY DAUGHTER???!!!”
Sometimes it’s hard finding a quote. Today is not one of those times.
We ended last episode with Tiberius in exile for violence against his wife, Julia, Augustus’ daughter, while Caesar’s grandchildren Gaius and Lucius were being groomed for power. Well, Gaius has already had a “sudden and unexplained death”; I’m sure Livia was shocked. Now, as she spends the episode plotting to have Tiberius recalled, I’m sure she’s anxious for poor Lucius. It would be a shame if anything were to... happen to him. All very similar in shape to last episode, then, except that Claudius is now a limping, stuttering child thought a fool by everyone. Like Tristram Shandy, it’s taken a while but he’s got past his own birth in his autobiography.
Last episode I failed to note a few actor spotting moments, not the least of which was Granny Pig from Peppa Pig (a key cultural touchstone to we parents if young children) discoursing on anal sex. Well, Julia is now, having been told last episode to lay off a bit, shagging around with wild abandon and her terrible downfall and exile is, I suppose, the central plot line of the episode, giving us a chance to see some splendid plotting by Livia and leaving Julia both sweating revenge against Livia and with a fairly clear idea of what’s been happening. It’s all very clever plotting at the same time as giving some superb actors a chance to have some real fun with some delightfully scheming characters. Sian Phillips is deliciously evil here, with loads more to come. But BRIAN BLESSED, beneath the SHOUTING, give a wonderfully subtle performance of avuncular bonhomie which can switch to menacing in an instant. Livia may manage to manipulate him on family issues, but this is a believable, power-hungry Augustus, albeit one who has long grown used to power and is now saddened by the tragedies that seem so inexplicably to befall his blood descendants.
In the middle of the episode is an odd omen that seems to predict Claudius’s rise, followed by some wonderful dialogue between Livilla and Antonia as she wishes herself dead before Claudius should ever come to power and is promptly send to bed without any supper, an appropriate prefiguring of Livilla’s own manner of death.
There’s also a lot of witty commentary in the dialogue on Rome and its ways- Julia and Antonia bemoan the unreliability is slaves these days, while Augustus forces his knights to get themselves married- “And don’t try to get round it by getting engaged to nine year old girls. I know that dodge”. But all this is overshadowed by Julia’s exposure, and by THAT scene. It may be a famous shouty Brian Blessed scene. It’s also an extraordinary piece of acting. Although personally I also love Kevin Stoney as fraudulent astrologer (but I repeat myself) Thrasyllus as Tiberius shares with him a dramatic reversal of fortune and is unexpectedly recalled to Rome. Their fit of laughter as they hear of Lucius’ seemingly natural deaths is utterly wonderful.
But now stage young Postumus is joint heir with Tiberius. And he’s intelligent to know this probably isn’t good for his life expectancy. So ends another magnificent episode, but I suspect I’ll be ending all the rest of these blog posts with similar sentiments.
Sunday, 28 April 2019
Saturday, 27 April 2019
I, Clavdivs: A Touch of Murder
"It never was what it was..."
It's 20th September 1976. I am as yet a very small collection of cells in my mother's womb, a bizarre thought, and on BBC One there begins the first feature length episode of I, Clavdivs, the BBC's new prestige drama adapting Robert Graves' novels I Claudius and Claudius the God, both of which I recommend heartily, or at any rate at least those parts of the novels that don't require any location filming.
Because that's the thing; there are no locations, no handheld camerawork. Instead there are small sets where you can tell the sets dressing extends no further than is visible on screen. It's theatre with a camera pointed at it, with only lip service made to realism. It relies only vaguely on spectacle; it's entirely about the acting and the script. And, my God, it's magnificent. I would never want them to take away today's location filming and handheld cameras, but we shall never again see the likes of I, Clavdivs.
We begin, after a title sequence that I'd quite forgotten would later inspire the titles of Black Adder II, in the present day in, I think, the 50s AD, with that young Derek Jacobi aged up as the elderly Emperor Claudius as he prepares a framing device, Greek chorus to his own autobiography with the added Greek touch of a riddle from the Sibyl. Then we are in flashback, the seventh anniversary of Mark Antony's defeat at Actium so 24BC, where there is dancing with boobies and our dramatis personae- the splendid Brian Blessed as Augustus in a large yet subtle and nuanced performance that is the highlight of his career, and rivals Herod Agrippa, the old warhorse, and young favourite Marcellus. We also have Augustus's sister Octavia mother to Marcellus, and his wife (and Caesar's only child) Julia- keep up at the back. And at the centre of the web we have Livia.
So we're all set for a long game of- well, definitely not thrones, that's for sure, because Rome doesn't do kings. Oh no. Definitely not. Because Augustus can't wait to lay down his temporary burdens and the republic will be back again like it was in the recent past, right? But before this we get an extraordinary fourth wall-breaking moment as a Greek orator and an actor playing an actor have their faces foregrounded over the main characters and lament how the theatre is not what it was, and never was in th first place. We are deliberately reminded of the artificiality of all this, that Suetonius may well have been writing out of his arse, and even (by Augustus) that history is not being told as it was but with poetic licence. All this is quite wonderful.
We see the early power games between Agrippa and Marcellus, until first the latter and then the former are fatally poisoned by Livia, whose choice of words is exquisite as she "helps" her sick victims, in order to maneouvre her glum and awkward son Tiberius to the top spot. We see the contrast between Tiberius' weakness and deep depression versus his heroic and cheery brother Drusus, who hopes for a republic but, alas, has a mother who hates him and happens to be Livia.
Augustus is the consummate psychopathic politician, a mafia don, whose every act is politically calculated and whose calculated bonhomie covers a terrifying ruthlessness. And Rome is a goldfish bowl where marriages, divorces, sex and happiness are but political tools. Power pervades every action. Tiberius' self-loathing is quite understandable.
We end with Drusus' suspicious death, with deeper darkness engulfing both Tiberius and the widowed Antonia, a crying baby, and Claudius in the present day with his food taster, suspicious that his wife and stepson are trying to kill him, because such is Rome. It's a richly written, superbly acted bit of telly history and I don't care about the very 1976 hair of young Gaius and Lucius, Livia's next victims. I'm loving this already.
It's 20th September 1976. I am as yet a very small collection of cells in my mother's womb, a bizarre thought, and on BBC One there begins the first feature length episode of I, Clavdivs, the BBC's new prestige drama adapting Robert Graves' novels I Claudius and Claudius the God, both of which I recommend heartily, or at any rate at least those parts of the novels that don't require any location filming.
Because that's the thing; there are no locations, no handheld camerawork. Instead there are small sets where you can tell the sets dressing extends no further than is visible on screen. It's theatre with a camera pointed at it, with only lip service made to realism. It relies only vaguely on spectacle; it's entirely about the acting and the script. And, my God, it's magnificent. I would never want them to take away today's location filming and handheld cameras, but we shall never again see the likes of I, Clavdivs.
We begin, after a title sequence that I'd quite forgotten would later inspire the titles of Black Adder II, in the present day in, I think, the 50s AD, with that young Derek Jacobi aged up as the elderly Emperor Claudius as he prepares a framing device, Greek chorus to his own autobiography with the added Greek touch of a riddle from the Sibyl. Then we are in flashback, the seventh anniversary of Mark Antony's defeat at Actium so 24BC, where there is dancing with boobies and our dramatis personae- the splendid Brian Blessed as Augustus in a large yet subtle and nuanced performance that is the highlight of his career, and rivals Herod Agrippa, the old warhorse, and young favourite Marcellus. We also have Augustus's sister Octavia mother to Marcellus, and his wife (and Caesar's only child) Julia- keep up at the back. And at the centre of the web we have Livia.
So we're all set for a long game of- well, definitely not thrones, that's for sure, because Rome doesn't do kings. Oh no. Definitely not. Because Augustus can't wait to lay down his temporary burdens and the republic will be back again like it was in the recent past, right? But before this we get an extraordinary fourth wall-breaking moment as a Greek orator and an actor playing an actor have their faces foregrounded over the main characters and lament how the theatre is not what it was, and never was in th first place. We are deliberately reminded of the artificiality of all this, that Suetonius may well have been writing out of his arse, and even (by Augustus) that history is not being told as it was but with poetic licence. All this is quite wonderful.
We see the early power games between Agrippa and Marcellus, until first the latter and then the former are fatally poisoned by Livia, whose choice of words is exquisite as she "helps" her sick victims, in order to maneouvre her glum and awkward son Tiberius to the top spot. We see the contrast between Tiberius' weakness and deep depression versus his heroic and cheery brother Drusus, who hopes for a republic but, alas, has a mother who hates him and happens to be Livia.
Augustus is the consummate psychopathic politician, a mafia don, whose every act is politically calculated and whose calculated bonhomie covers a terrifying ruthlessness. And Rome is a goldfish bowl where marriages, divorces, sex and happiness are but political tools. Power pervades every action. Tiberius' self-loathing is quite understandable.
We end with Drusus' suspicious death, with deeper darkness engulfing both Tiberius and the widowed Antonia, a crying baby, and Claudius in the present day with his food taster, suspicious that his wife and stepson are trying to kill him, because such is Rome. It's a richly written, superbly acted bit of telly history and I don't care about the very 1976 hair of young Gaius and Lucius, Livia's next victims. I'm loving this already.
Friday, 26 April 2019
Angel: Not Fade Away
"Good night, folks."
This is it, then. The end. And, my God, that was magnificent.
The plot of the episode could be reduced to “the gang kill every single member of the Circle of the Black Thorn, and some of them die” but, of course, the plot is not the point. This final episode lives and breathes character, feeling, and the positively existential message that yes, doing good may make no difference in the long run in a world that will always be corrupt and unjust, but we do it anyway, with joyous defiance, as something much bigger than our lives. That message lies beneath everything in this final episode.
Angel must keep up appearances, of course, and early on he is made to sign away the Shanshu Prophecy. But then he is, of course, a hero. Heroes do good because of who they are and not because of any reward, just as one does not need to believe in a Heaven to be moral. Neither does Angel, and neither do any of his friends.
But it isn’t all grim; the gang get to spend one last day doing what they love before they probably die that night. So Lorne sings. Angel spends time with Connor, and sees what a well-adjusted and happy young man he is. Spike gets drunk and performs at a poetry slam. Gunn, wonderfully, does charity work with our old friend Annie who, as much as anyone, articulates what the episode is about- if there are, indeed, corrupt forces ensuring that there will never be justice or an end to suffering, the proper response is to get to work and comfort the suffering. Hopelessness achieves nothing, however justified. We do good regardless.
Wesley, tragically, has no possible perfect days; spending it with the god king inhabiting Fred’s body is the best he can do. There is no joy for him, only grim determination and, anyway “I don’t actually intend to die tonight.” Like Hamilton later, this is something he probably shouldn’t have said.
The Circle are all killed, but not without cost. Wesley dies in Illyria’s arms as she lies to him, his last words being to tell Fred that he loved her. Alexis Denisof is simply magnificent in portraying a character who has had a rich and deep arc, and the same must be said for J August Richards, as Gunn’s arc this season has been deeply satisfying. We are shocked to see a dejected Lorne murder Lindsey before walking away forever. We are less shocked to see Harmony betray her boss and then ask for a reference, but that kind of juxtaposition is something I’ll miss enormously.
And so the survivors gather to face the consequences, with no hope of survival but happy against the odds. And then it ends. Has any season finale ever been better than this?
RIP Angel. RIP Buffyverse. You were loved.
This is it, then. The end. And, my God, that was magnificent.
The plot of the episode could be reduced to “the gang kill every single member of the Circle of the Black Thorn, and some of them die” but, of course, the plot is not the point. This final episode lives and breathes character, feeling, and the positively existential message that yes, doing good may make no difference in the long run in a world that will always be corrupt and unjust, but we do it anyway, with joyous defiance, as something much bigger than our lives. That message lies beneath everything in this final episode.
Angel must keep up appearances, of course, and early on he is made to sign away the Shanshu Prophecy. But then he is, of course, a hero. Heroes do good because of who they are and not because of any reward, just as one does not need to believe in a Heaven to be moral. Neither does Angel, and neither do any of his friends.
But it isn’t all grim; the gang get to spend one last day doing what they love before they probably die that night. So Lorne sings. Angel spends time with Connor, and sees what a well-adjusted and happy young man he is. Spike gets drunk and performs at a poetry slam. Gunn, wonderfully, does charity work with our old friend Annie who, as much as anyone, articulates what the episode is about- if there are, indeed, corrupt forces ensuring that there will never be justice or an end to suffering, the proper response is to get to work and comfort the suffering. Hopelessness achieves nothing, however justified. We do good regardless.
Wesley, tragically, has no possible perfect days; spending it with the god king inhabiting Fred’s body is the best he can do. There is no joy for him, only grim determination and, anyway “I don’t actually intend to die tonight.” Like Hamilton later, this is something he probably shouldn’t have said.
The Circle are all killed, but not without cost. Wesley dies in Illyria’s arms as she lies to him, his last words being to tell Fred that he loved her. Alexis Denisof is simply magnificent in portraying a character who has had a rich and deep arc, and the same must be said for J August Richards, as Gunn’s arc this season has been deeply satisfying. We are shocked to see a dejected Lorne murder Lindsey before walking away forever. We are less shocked to see Harmony betray her boss and then ask for a reference, but that kind of juxtaposition is something I’ll miss enormously.
And so the survivors gather to face the consequences, with no hope of survival but happy against the odds. And then it ends. Has any season finale ever been better than this?
RIP Angel. RIP Buffyverse. You were loved.
Thursday, 25 April 2019
Angel: Power Play
“You’re my hero.”
“I may not always be.”
The penultimate episode. We’re scarily close to the end.
This is an episode of set-up for the grand finale, yes, but it’s also a suspenseful piece of self-contained drama in its own right as we wonder whether Angel truly has been reduced by the dark side, by a taste for power. Only with Nina, in hindsight, is he truly honest, if oblique, about his desires and feelings, and the way he dumps her is even more heartbreaking once we realise why. But much of the episode shows him indifferent to the suffering of the little people, agreeing to destroy the opponent of an evil senator, and generally doing things that seem to be evil in an attempt to ingratiate himself with the Circle of the Black Thorn. Only at the end so we discover his true purpose- to strike a blow against evil which will not stop it, or apocalypse, in the long run but will be a worthwhile gesture, from which there is no coming back. And Wesley, Gunn and Spike are all with him.
It’s worth comparing Angel’s earlier speech about power to what he says here. Yes, the world will always be controlled by the powerful. Yes, evil can not be stopped and fighting it is in a sense futile. But that’s not the point. One can choose to be good as a glorious gesture, and give one’s life meaning. This is not a religious argument for morality but almost an existential one. And it’s glorious.
The Circle of the Black Thorn includes many people we have met before- the Duke of Sebassis, Cyvus Vale, that devil bloke that Angel plays squash with, a useful shortcut for the viewer. We also see Illyria being subtly humanised a little. Various characters play Crash Bandicoot, which Mrs Llamastrangler introduced me to a few years ago, and Illyria sees it as a metaphor for life- annoying but addictive. There’s still room for humour, and humanity. An epic episode, as ever for Angel, is leavened with humanity. That’s a big reason why I’m going to miss this programme.
But it’s time to look forward, nervously. Forty-odd minutes to go...
“I may not always be.”
The penultimate episode. We’re scarily close to the end.
This is an episode of set-up for the grand finale, yes, but it’s also a suspenseful piece of self-contained drama in its own right as we wonder whether Angel truly has been reduced by the dark side, by a taste for power. Only with Nina, in hindsight, is he truly honest, if oblique, about his desires and feelings, and the way he dumps her is even more heartbreaking once we realise why. But much of the episode shows him indifferent to the suffering of the little people, agreeing to destroy the opponent of an evil senator, and generally doing things that seem to be evil in an attempt to ingratiate himself with the Circle of the Black Thorn. Only at the end so we discover his true purpose- to strike a blow against evil which will not stop it, or apocalypse, in the long run but will be a worthwhile gesture, from which there is no coming back. And Wesley, Gunn and Spike are all with him.
It’s worth comparing Angel’s earlier speech about power to what he says here. Yes, the world will always be controlled by the powerful. Yes, evil can not be stopped and fighting it is in a sense futile. But that’s not the point. One can choose to be good as a glorious gesture, and give one’s life meaning. This is not a religious argument for morality but almost an existential one. And it’s glorious.
The Circle of the Black Thorn includes many people we have met before- the Duke of Sebassis, Cyvus Vale, that devil bloke that Angel plays squash with, a useful shortcut for the viewer. We also see Illyria being subtly humanised a little. Various characters play Crash Bandicoot, which Mrs Llamastrangler introduced me to a few years ago, and Illyria sees it as a metaphor for life- annoying but addictive. There’s still room for humour, and humanity. An epic episode, as ever for Angel, is leavened with humanity. That’s a big reason why I’m going to miss this programme.
But it’s time to look forward, nervously. Forty-odd minutes to go...
Wednesday, 24 April 2019
Angel: The Girl in Question
"How did she ever fall for a centuries-old guy with a dark past who may or may not be evil?"
This is the last ever fluffy episode of the entire Buffyverse and it’s utterly hilarious, as well as giving us what are probably last flashbacks of Darla and Drew- and also Andrew, and sort of Buffy. It may not get the praise that the serious episodes around it may do, but it’s equally brilliant in its own way.
There are three things going on here. One is the conceit that the Immortal, who is very big in Rome, is constantly seducing and, er, satisfying any woman he wants, frequently including Angel’s and Spike’s desired, both in the present and in flashback, and it’s all comedy gold. I especially loved Darla’s glowing little monologue. (“Oh, darling! It was just fornication. Really great fornication...”)
The second is the surprise arrival of Fred’s parents, and Illyria’s unexpected ability to impersonate Fred perfectly, something which freaks Wesley out deeply, and makes him tell her in no uncertain terms never to do it again- but we can tell, in spite of her defensive arrogance, that Illyria likes him.
But the third thing is essentially to transport the whole concept of the programme to an Italian (and to a limited sense European as a whole) context, complete with Vespas everywhere and an identical Wolfram & Hart office with Angel’s very Italian counterpart, Ilona, with her casual racism against gypsies prefiguring Italy’s current openly Fascist government. There’s a bit of social commentary here- Angel and Spike want to use violence to get the MacGuffin of the week, where their Italian counterparts resort immediately to bribery. “Oh, look,” says an Italian demon, “the Americans are relying on violence to solve their problems. What a surprise!”
There’s a lot going on here, I think. This is 2004, after all, the time of Afghanistan, Iraq, wars on abstract nouns and the re-election of an American president who we all thought at the time would be the worst ever. So there is, I think, an implied self-criticism of American war willingness, but also an implication that violence has integrity, that diplomacy is corrupt and appeasing. It’s not necessarily the self-effacing joke it may first seem.
The ending is perfect- a sulking Angel and Spike hearing words of wisdom from Andrew, who then reveals himself to have been changing into a fix and proceeds to go out with two gorgeous women. It’s a wonderful and fun episode. We shall never see its like again.
This is the last ever fluffy episode of the entire Buffyverse and it’s utterly hilarious, as well as giving us what are probably last flashbacks of Darla and Drew- and also Andrew, and sort of Buffy. It may not get the praise that the serious episodes around it may do, but it’s equally brilliant in its own way.
There are three things going on here. One is the conceit that the Immortal, who is very big in Rome, is constantly seducing and, er, satisfying any woman he wants, frequently including Angel’s and Spike’s desired, both in the present and in flashback, and it’s all comedy gold. I especially loved Darla’s glowing little monologue. (“Oh, darling! It was just fornication. Really great fornication...”)
The second is the surprise arrival of Fred’s parents, and Illyria’s unexpected ability to impersonate Fred perfectly, something which freaks Wesley out deeply, and makes him tell her in no uncertain terms never to do it again- but we can tell, in spite of her defensive arrogance, that Illyria likes him.
But the third thing is essentially to transport the whole concept of the programme to an Italian (and to a limited sense European as a whole) context, complete with Vespas everywhere and an identical Wolfram & Hart office with Angel’s very Italian counterpart, Ilona, with her casual racism against gypsies prefiguring Italy’s current openly Fascist government. There’s a bit of social commentary here- Angel and Spike want to use violence to get the MacGuffin of the week, where their Italian counterparts resort immediately to bribery. “Oh, look,” says an Italian demon, “the Americans are relying on violence to solve their problems. What a surprise!”
There’s a lot going on here, I think. This is 2004, after all, the time of Afghanistan, Iraq, wars on abstract nouns and the re-election of an American president who we all thought at the time would be the worst ever. So there is, I think, an implied self-criticism of American war willingness, but also an implication that violence has integrity, that diplomacy is corrupt and appeasing. It’s not necessarily the self-effacing joke it may first seem.
The ending is perfect- a sulking Angel and Spike hearing words of wisdom from Andrew, who then reveals himself to have been changing into a fix and proceeds to go out with two gorgeous women. It’s a wonderful and fun episode. We shall never see its like again.
Tuesday, 23 April 2019
See No Evil 2 (2014)
“I’m more of a cake and cadavers kind of girl...”
This may be a by-the-numbers modern slasher sequel, it may have no stars and it may be a bit obscure. But it’s a perfectly decent film and far better than any Friday the 13th I’ve seen so far.
It’s a direct follow-on from the first film, set in the morgue to which the dead are taken, including Jacob, who of course is not actually dead for reasons that solid genre convention allows to go cheerfully unexplained. Working here are Amy, Seth and Holden plus a bunch of interestingly flawed individuals invited for an unorthodox birthday party. It’s a solid basis for a slasher.
The film is, of course, like all the best of its ilk, winking at us with regards to the cliches. Hence the couple who have sex next to Jacob Goodnight’s apparent corpse are doomed. Hence Amy signs her death warrant by offering to stay and help with the nine incoming bodies rather than take her chance to leave for her birthday piss-up. And there are, of course, no survivors, with Seth seeming to get away until the last moment where Jacob gouges out his eyes- we need to have some kind of nod to the title, after all.
This is a classic, well-constructed, traditional but delightfully self-aware base under siege slasher that benefits from a strong setting and good characterisation. I rather liked it.
It’s a direct follow-on from the first film, set in the morgue to which the dead are taken, including Jacob, who of course is not actually dead for reasons that solid genre convention allows to go cheerfully unexplained. Working here are Amy, Seth and Holden plus a bunch of interestingly flawed individuals invited for an unorthodox birthday party. It’s a solid basis for a slasher.
The film is, of course, like all the best of its ilk, winking at us with regards to the cliches. Hence the couple who have sex next to Jacob Goodnight’s apparent corpse are doomed. Hence Amy signs her death warrant by offering to stay and help with the nine incoming bodies rather than take her chance to leave for her birthday piss-up. And there are, of course, no survivors, with Seth seeming to get away until the last moment where Jacob gouges out his eyes- we need to have some kind of nod to the title, after all.
This is a classic, well-constructed, traditional but delightfully self-aware base under siege slasher that benefits from a strong setting and good characterisation. I rather liked it.
Monday, 22 April 2019
The Incredibles 2 (2018)
"I renounce my renunciation!"
I watched this film over the weekend with Mrs Llamastrangler and Little Miss Llamastrangler, who is now rather obsessed with Elastigirl. This is, of course, a rather fun little film which has similar fun with superhero tropes as the last movie. It’s a splendid film, this time focusing on Elastigirl leading the heroics while Mr Incredible struggles with handling the domestics at home.
So, yes, one point for trying to be feminist and minus one for continuing the trope of men being hapless in the domestic sphere. Still, it’s funny, witty and charming and had us all entertained. The plot, revolving around the villainous and Saw-like (in a kid-friendly way) Screenslaver, and the tantalising prospect of superheroics being legal again, is also fun, even if the real baddie’s identity is rather obvious if you happen to be 41 rather than four.
Oh, and Jack-Jack now has an astounding number of powers. Good luck with raising that child, although the scenes of Bob trying to control the little sod are rather amusing. You finish the film rather satisfied by an entertaining and well-constructed piece of entertainment. Maybe one day we will have a real Fantastic Four movie that’s this good.
Is it me, though, or does tycoon superhero fan Winston look just like Lee Mack?
So, yes, one point for trying to be feminist and minus one for continuing the trope of men being hapless in the domestic sphere. Still, it’s funny, witty and charming and had us all entertained. The plot, revolving around the villainous and Saw-like (in a kid-friendly way) Screenslaver, and the tantalising prospect of superheroics being legal again, is also fun, even if the real baddie’s identity is rather obvious if you happen to be 41 rather than four.
Oh, and Jack-Jack now has an astounding number of powers. Good luck with raising that child, although the scenes of Bob trying to control the little sod are rather amusing. You finish the film rather satisfied by an entertaining and well-constructed piece of entertainment. Maybe one day we will have a real Fantastic Four movie that’s this good.
Is it me, though, or does tycoon superhero fan Winston look just like Lee Mack?
Saturday, 20 April 2019
The Bride of Frankenstein (1935)
"He's a very queer looking gentleman, Sir."
This isn't the first time I’ve seen this film, of course, but it’s been a bit of a while. It’s as good as ever this time round, of course, one of cinema’s great sequels, but a different experience after so many years. It’s a lot more noticeable this time, for one thing, how the delightfully camp Dr. Pretorius, making Henry Frankenstein look even more neurotic by comparison, strives to separate Henry from his heterosexual relationship so the two of them can do things together of which society disapproves, for which Pretorius has been banned from academia, and which are generally considered (it being a vague Romantic period or 1935, depending on how diabetic we wish to be) to be going against God. Hmm. What are we saying here, Mr Whale? Incidentally, I love the little people with their silly costumes.
The other thing that surprised me this time round is just how late in the film the “Bride” appears; just for the last four minutes. Elsa Lanchester looks and is superb, however. And it is of course the real tragedy that the monster, having known a little friendship from a blind man rather keen to push smoking on to him (“No, no, this is good. Smoke- you try.”), is hated by all and the fact that his intended mate is terrified of him too is simply the final straw. He can have no connection with others, thus no happiness, and so he wants to die- bringing Pretorius and the Bride with him. There’s a hint of violent male attitudes towards rejection by women there, I think. It’s also hard to keep my inner Alan Partridge in check as both the title “Bride of Frankenstein” and the fact that Pretorius says the line for no diegetic reason at his moment of triumph seems to call the monster “Frankenstein”. But it’s hard to deny what an absolute work of genius this film is.
The other thing that surprised me this time round is just how late in the film the “Bride” appears; just for the last four minutes. Elsa Lanchester looks and is superb, however. And it is of course the real tragedy that the monster, having known a little friendship from a blind man rather keen to push smoking on to him (“No, no, this is good. Smoke- you try.”), is hated by all and the fact that his intended mate is terrified of him too is simply the final straw. He can have no connection with others, thus no happiness, and so he wants to die- bringing Pretorius and the Bride with him. There’s a hint of violent male attitudes towards rejection by women there, I think. It’s also hard to keep my inner Alan Partridge in check as both the title “Bride of Frankenstein” and the fact that Pretorius says the line for no diegetic reason at his moment of triumph seems to call the monster “Frankenstein”. But it’s hard to deny what an absolute work of genius this film is.
Wednesday, 17 April 2019
Angel: Time Bomb
”She still thinks she’s the god-king of the universe.”
“So, she’s like a TV star.”
“No, nothing that bad.”
In a way this episode is a way to get from A to B- Illyria is clearly too powerful to have around so her powers have to be sharply reduced for the final few episodes so the upcoming apocalypse can have some sense of threat. But not before she uses said powers to rescue Gunn, of course. He made it quite clear last episode he’d repented and there’s no narrative need to keep him in that rather unpleasant basement when he has far more interesting things to be doing as a key member of the cast.
We also start getting comments- especially in the rather interesting conversation between Gunn and Lorne- about how Wesley is coming across as increasingly unhinged and obsessive, something portrayed superbly by Alexis Denisof. Lorne, meanwhile, seems to be departing from his entertainment brief to revert to his old role as Greek Chorus-cum-comic relief. And Spike, despite the jokes at his expense, is increasingly being accepted as one of the gang. Oh, and Mercedes McNab finally makes the titles.
There’s an interesting early scene where Marcus castigates the gang for blowing so much money on Gunn’s rescue and obliterating their previously huge profits- “It’s business, boys, not a Batcave”- which makes an interesting contrast with Angel’s later decision, to Gunn’s horror, to allow a baby to be given to a bunch of demons for eventual sacrifice. We’re left to wonder whether Angel is indeed starting to be corrupted, and what this has to do with the apparently ongoing apocalypse.
Of course, the bulk of the episode focuses on Illyria speechifying at Wesley and various others as her human frame struggles to hold her power, and only after a load of very weird timey-wimey stuff does Wesley cure her. As Angel hints towards the end she may now be ready for the team, if she can dial back the conquering urge a bit.
Again, superb stuff. The timey-wimey stuff is a bit bizarre, though.
“So, she’s like a TV star.”
“No, nothing that bad.”
In a way this episode is a way to get from A to B- Illyria is clearly too powerful to have around so her powers have to be sharply reduced for the final few episodes so the upcoming apocalypse can have some sense of threat. But not before she uses said powers to rescue Gunn, of course. He made it quite clear last episode he’d repented and there’s no narrative need to keep him in that rather unpleasant basement when he has far more interesting things to be doing as a key member of the cast.
We also start getting comments- especially in the rather interesting conversation between Gunn and Lorne- about how Wesley is coming across as increasingly unhinged and obsessive, something portrayed superbly by Alexis Denisof. Lorne, meanwhile, seems to be departing from his entertainment brief to revert to his old role as Greek Chorus-cum-comic relief. And Spike, despite the jokes at his expense, is increasingly being accepted as one of the gang. Oh, and Mercedes McNab finally makes the titles.
There’s an interesting early scene where Marcus castigates the gang for blowing so much money on Gunn’s rescue and obliterating their previously huge profits- “It’s business, boys, not a Batcave”- which makes an interesting contrast with Angel’s later decision, to Gunn’s horror, to allow a baby to be given to a bunch of demons for eventual sacrifice. We’re left to wonder whether Angel is indeed starting to be corrupted, and what this has to do with the apparently ongoing apocalypse.
Of course, the bulk of the episode focuses on Illyria speechifying at Wesley and various others as her human frame struggles to hold her power, and only after a load of very weird timey-wimey stuff does Wesley cure her. As Angel hints towards the end she may now be ready for the team, if she can dial back the conquering urge a bit.
Again, superb stuff. The timey-wimey stuff is a bit bizarre, though.
Tuesday, 16 April 2019
Angel: Origin
"In gratitude, I grant you three wishes."
"Really?"
"Nah, I'm just messing with you."
Connor, inevitably, is back for an episode. This shouldn’t surprise us. What does come as a pleasant surprise, though, is how well it’s done, and how the fact that Angel altered reality and everybody’s memories acts to drive a wedge between him and Wesley in particular.
Connor’s life may be a lie, and his memories false, but these lies have made him into a healthy, pleasant, well-adjusted young man with a strong relationship with his family and a place at Stanford. He still has superhuman endurance, though, which brings him to the attention of Wolfram and Hart, and although Angel initially, to the gang’s confusion, runs away from the problem, he can’t keep himself away. He soon learns from Marcus that the Senior Partners have nothing to do with putting Connor back in his life- instead Cyvus Vail, the demon who changed Connor’s memories, no wants to use Connor to kill Sahjahn as is, of course, prophesied. Although why Vail didn’t try to do this earlier I have no idea.
I like Cyvus Vail. He’s a witty, likeable character as is Sahjahn. It’s a shame that one of them has to die, and so Sahjahn adds to this season’s growing body count. It’s a fun and entertaining set of scenes, paralleled with the horrifying Wesley discovering the truth about the reality shift, and restoring everyone’s memories.
This will, I suspect, affect Wesley’s trust for Angel, especially as early dialogue to Illyria highlighted how much he trusts his boss at that point. But the interesting effect on Connor; at first he seems to become his old, wild self and kills Sahjahn, only to return to his well-adjusted self. And the final scenes hint that, although he has his old memories back and knows the truth, he remains the man his new memories made him and chooses his current life- a mature, healthy response.
Meanwhile, Gunn is being regularly tortured in the cellar in a quest for redemption. So keen is he to redeem himself that he turns down an offer of release from Marcus- no more deals with the devil for him, no matter what the cost. This scene is here to show he’s learned his lesson; I suspect his days in Hell are numbered.
Another great episode, then. But aren’t they all at the moment?
"Really?"
"Nah, I'm just messing with you."
Connor, inevitably, is back for an episode. This shouldn’t surprise us. What does come as a pleasant surprise, though, is how well it’s done, and how the fact that Angel altered reality and everybody’s memories acts to drive a wedge between him and Wesley in particular.
Connor’s life may be a lie, and his memories false, but these lies have made him into a healthy, pleasant, well-adjusted young man with a strong relationship with his family and a place at Stanford. He still has superhuman endurance, though, which brings him to the attention of Wolfram and Hart, and although Angel initially, to the gang’s confusion, runs away from the problem, he can’t keep himself away. He soon learns from Marcus that the Senior Partners have nothing to do with putting Connor back in his life- instead Cyvus Vail, the demon who changed Connor’s memories, no wants to use Connor to kill Sahjahn as is, of course, prophesied. Although why Vail didn’t try to do this earlier I have no idea.
I like Cyvus Vail. He’s a witty, likeable character as is Sahjahn. It’s a shame that one of them has to die, and so Sahjahn adds to this season’s growing body count. It’s a fun and entertaining set of scenes, paralleled with the horrifying Wesley discovering the truth about the reality shift, and restoring everyone’s memories.
This will, I suspect, affect Wesley’s trust for Angel, especially as early dialogue to Illyria highlighted how much he trusts his boss at that point. But the interesting effect on Connor; at first he seems to become his old, wild self and kills Sahjahn, only to return to his well-adjusted self. And the final scenes hint that, although he has his old memories back and knows the truth, he remains the man his new memories made him and chooses his current life- a mature, healthy response.
Meanwhile, Gunn is being regularly tortured in the cellar in a quest for redemption. So keen is he to redeem himself that he turns down an offer of release from Marcus- no more deals with the devil for him, no matter what the cost. This scene is here to show he’s learned his lesson; I suspect his days in Hell are numbered.
Another great episode, then. But aren’t they all at the moment?
Monday, 15 April 2019
Inhumans: Divide and Conquer
“Giant cow dogs do not exist.”
A better episode this week as the need for exposition diminishes, we know the characters and the story can feather. It still feels a bit like that final season of Torchwood, though.
There’s a series of flashbacks here with Black Bolt and Maximus as children where a pre-mists Black Bolt expresses reluctance to be king as Maximus glowers, and we see both his parents’ trust in him to control his power and Avon gently telling Maximus that he’s a simple, vanilla human. Nice to have all these, I suppose, but the flashbacks don’t tell us anything we can’t infer, which makes their inclusion questionable. I suppose at least we have Agon explicitly telling Maximus he can never be king.
We also see Black Bolt threatened with violence in prison but making a friend with (Inhuman?) powers and connections with whom he manages to escape. I’m not sure how his friend manages to interpret his apparent muteness as a superpower though. He’s followed throughout by the tenacious Louise, who manages to witness their helicopter escape- which just misses Medusa, whose own subplot has been treading water up until now.
Crystal manages to defy Maximus, find Lockjaw and escape to Hawaii, while Gorgon and his Hawaiian nationalist mates fight away an attack by Auran and her gang, including the mysteriously powerful Mordis. And Karnak, powers still damaged, is suffering a crisis of confidence and throws his lot in with some weed farmers.
We have a cliffhanger ending in which Lockjaw is, er, hit by a quad bike. All this is watchable and just about ok, but it’s awfully slow with a lot of treading water. Can we have a bit less of this boring old Earth stuff please?
There’s a series of flashbacks here with Black Bolt and Maximus as children where a pre-mists Black Bolt expresses reluctance to be king as Maximus glowers, and we see both his parents’ trust in him to control his power and Avon gently telling Maximus that he’s a simple, vanilla human. Nice to have all these, I suppose, but the flashbacks don’t tell us anything we can’t infer, which makes their inclusion questionable. I suppose at least we have Agon explicitly telling Maximus he can never be king.
We also see Black Bolt threatened with violence in prison but making a friend with (Inhuman?) powers and connections with whom he manages to escape. I’m not sure how his friend manages to interpret his apparent muteness as a superpower though. He’s followed throughout by the tenacious Louise, who manages to witness their helicopter escape- which just misses Medusa, whose own subplot has been treading water up until now.
Crystal manages to defy Maximus, find Lockjaw and escape to Hawaii, while Gorgon and his Hawaiian nationalist mates fight away an attack by Auran and her gang, including the mysteriously powerful Mordis. And Karnak, powers still damaged, is suffering a crisis of confidence and throws his lot in with some weed farmers.
We have a cliffhanger ending in which Lockjaw is, er, hit by a quad bike. All this is watchable and just about ok, but it’s awfully slow with a lot of treading water. Can we have a bit less of this boring old Earth stuff please?
Sunday, 14 April 2019
Friday the 13th: A New Beginning (1985)
“You better watch out for the snake that’s going to crawl up that crapper and bite your ass.”
This is the film in the franchise that everyone hates because Jason isn’t in it. You’re not supposed to like it. And, let’s face it, I haven’t much liked the Friday the 13th franchise so far which so far has consisted of a series of increasingly formulaic and by-the-book slashers. So, although it would be heretical to start liking this of all films in the series, chances are slim, right?
Well, sorry. Grab your torches and pitchforks and start laying siege to my castle. I like this film. It’s quite good. Now, let’s not exaggerate: I wouldn’t use a stronger phrase than “quite good”. But quite good it is. It’s well structured, well shot, the deaths may be quite similar and mostly done with knives but they’re well done with lots of suspense. And, even better, with Jason out of the picture there’s a real mystery to the killings. Tommy from the last film is all grown up and ready to be the red herring here, carefully kept away from the murders until revealed not to be the killer at the climax... until he shows himself to have a Jason mask and actually sets out to be the second Jason copycat killer. It’s all quite clever and asks as a rather good origin story for Tommy/Jason which, I’m fairly sure, will never be followed up on.
The identity of the real killer is cleverly done, too; a real surprise but the clues were there, fair and square. As a film about the legacy of Jason rather than Jason himself it, er, actually works better. Sorry. Also, the characters are actually likeable and have personalities, even if one of them does look rather creepily like Michael Jackson, who in 1985 was known as the “King of Pop” rather than as a notorious child molester- that’s one thing that’s dated. But no review of this film would be complete without a mention of the splendidly sweary Ethel, who deserves a film of her own.
So, yeah, I quite liked it. Soz.
This is the film in the franchise that everyone hates because Jason isn’t in it. You’re not supposed to like it. And, let’s face it, I haven’t much liked the Friday the 13th franchise so far which so far has consisted of a series of increasingly formulaic and by-the-book slashers. So, although it would be heretical to start liking this of all films in the series, chances are slim, right?Well, sorry. Grab your torches and pitchforks and start laying siege to my castle. I like this film. It’s quite good. Now, let’s not exaggerate: I wouldn’t use a stronger phrase than “quite good”. But quite good it is. It’s well structured, well shot, the deaths may be quite similar and mostly done with knives but they’re well done with lots of suspense. And, even better, with Jason out of the picture there’s a real mystery to the killings. Tommy from the last film is all grown up and ready to be the red herring here, carefully kept away from the murders until revealed not to be the killer at the climax... until he shows himself to have a Jason mask and actually sets out to be the second Jason copycat killer. It’s all quite clever and asks as a rather good origin story for Tommy/Jason which, I’m fairly sure, will never be followed up on.
The identity of the real killer is cleverly done, too; a real surprise but the clues were there, fair and square. As a film about the legacy of Jason rather than Jason himself it, er, actually works better. Sorry. Also, the characters are actually likeable and have personalities, even if one of them does look rather creepily like Michael Jackson, who in 1985 was known as the “King of Pop” rather than as a notorious child molester- that’s one thing that’s dated. But no review of this film would be complete without a mention of the splendidly sweary Ethel, who deserves a film of her own.
So, yeah, I quite liked it. Soz.
Saturday, 13 April 2019
The Day the Earth Stood Still (1951)
"Holy mackerel!”
This is the second time I've seen this film; twenty years ago it blew me away and I'd still say it's superb and a uniquely thoughtful '50s flying saucer movie with a lot to say. But perhaps this time my eyebrow as a little more raised. I still love the film, but I can see its flaws.
It's still a very serious moral fable, with flaws that I'll get to later, which comes across as thoughtful and is superbly directed, with oe of the most effective flying saucers in all of cinema. But the characterisation... well, Klaatu is a bit of an arrogant dick (I'll get to that later too) but otherwise we have a bunch of characters who are essentially just ciphers, along with the most "gee whiz" kid in the history of cinema. And, well, let's just look at the plot, shall we?
Klaatu is from 250-odd miles away, so within the Solar System, if a little further than the suggested Mars or Venus, both plausibly inhabited by what was known in 1951. That being the case, you can sort of see how the fact that Earth has nukes and is starting to explore space travel might be seen as a threat. But expecting humanity to entirely expunge all aggression or face genocide? I mean, come on. I'm as big a wishy-washy liberal as they come but aggression will never be removed from human nature, nor is it necessarily always a negative or violent thing. And in threatening to destroy us Klaatu is not exactly occupying the moral high ground. That would be collective punishment, as blatant a war crime as there could possibly be.
Oh yes, and then he is killed by violent humans and resurrected by Gort in an obvious Christ parallel, something that has to be done thoughtfully to avoid being pretentious and, while I'm certainly not religious, I have to observe that nowhere in the Gospels, or so I believe, does Christ threaten to destroy the human race if they refuse to follow his teachings.
That aside, though, I genuinely enjoyed the film, honest! it's extremely well made, watchable, and while its message doesn't quite work it is at least about something. It also gave us the names for no fewer than three denizens of Jabba the Hutt's sail barge...
It's still a very serious moral fable, with flaws that I'll get to later, which comes across as thoughtful and is superbly directed, with oe of the most effective flying saucers in all of cinema. But the characterisation... well, Klaatu is a bit of an arrogant dick (I'll get to that later too) but otherwise we have a bunch of characters who are essentially just ciphers, along with the most "gee whiz" kid in the history of cinema. And, well, let's just look at the plot, shall we?
Klaatu is from 250-odd miles away, so within the Solar System, if a little further than the suggested Mars or Venus, both plausibly inhabited by what was known in 1951. That being the case, you can sort of see how the fact that Earth has nukes and is starting to explore space travel might be seen as a threat. But expecting humanity to entirely expunge all aggression or face genocide? I mean, come on. I'm as big a wishy-washy liberal as they come but aggression will never be removed from human nature, nor is it necessarily always a negative or violent thing. And in threatening to destroy us Klaatu is not exactly occupying the moral high ground. That would be collective punishment, as blatant a war crime as there could possibly be.
Oh yes, and then he is killed by violent humans and resurrected by Gort in an obvious Christ parallel, something that has to be done thoughtfully to avoid being pretentious and, while I'm certainly not religious, I have to observe that nowhere in the Gospels, or so I believe, does Christ threaten to destroy the human race if they refuse to follow his teachings.
That aside, though, I genuinely enjoyed the film, honest! it's extremely well made, watchable, and while its message doesn't quite work it is at least about something. It also gave us the names for no fewer than three denizens of Jabba the Hutt's sail barge...
Friday, 12 April 2019
Ready Player One (2018)
”Ninjas don't hug!"
Well, that was certainly superb. Who'd have thought it; a film from Steven Spielberg with no didactic music, no real stars and a very fresh feel. This film is hugely entertaining and so very 2018.
Superficially, perhaps, you could say this film is a bit like Tron, being set mainly in cyberspace with a corporate baddie. But, in truth, the film goes so much deeper, and has so much more to say, than the cool visuals and the myriad, admittedly awesome, pop culture references. And that isn't just about today's gamer, streaming and Twitch culture (Mrs Llamastrangler knows much more about all this than I do) in spite of the many obvious references.
It's 2045, and what we see of the world (well, Ohio) is grim and poverty-stricken aside from a few corporate bigwigs. People live in "stacks", trailer parks stacked on top of each other, and escape their lives through ubiquitous VR and, in particular, through the Oasis, a VR oasis invented by the late James Halliday and his mate, played by the superb Mark Rylance along with the ever-splendid Simon Pegg, both bizarrely with American accents. Through this world we follow Wade, love interest Art3mis and the slightly undeveloped rest of the gang as they try to complete the online quest left by Halliday to gain control of his empire.
Put like that it seems almost pedestrian, a kind of cross between Tron and Charlie and the Chocolate Factory, but it’s so much more than that. The commentary on escapism into an online world, a kind of VR Second Life where capitalism continues to operate as avatars depend on “coin” for how they look and what they can do, is acutely clever. So is the hint that not only has pop culture become, well, culture, but that the immediate access to cheap music and films will mean the pop culture of the late twentieth century will remain relevant and new pop culture will fail to be supported. There’s IOI with its “loyalty centres”, or debtor’s prisons, a serious potential future problem if debt laws are not reformed. There’s a reminder that reality is what actually matters and that being online is but an extension of this. There’s s love story. There’s the Holy Hand Grenade. There’s MechaGodzilla. This is easily the best new film I’ve seen for a long time.
Superficially, perhaps, you could say this film is a bit like Tron, being set mainly in cyberspace with a corporate baddie. But, in truth, the film goes so much deeper, and has so much more to say, than the cool visuals and the myriad, admittedly awesome, pop culture references. And that isn't just about today's gamer, streaming and Twitch culture (Mrs Llamastrangler knows much more about all this than I do) in spite of the many obvious references.
It's 2045, and what we see of the world (well, Ohio) is grim and poverty-stricken aside from a few corporate bigwigs. People live in "stacks", trailer parks stacked on top of each other, and escape their lives through ubiquitous VR and, in particular, through the Oasis, a VR oasis invented by the late James Halliday and his mate, played by the superb Mark Rylance along with the ever-splendid Simon Pegg, both bizarrely with American accents. Through this world we follow Wade, love interest Art3mis and the slightly undeveloped rest of the gang as they try to complete the online quest left by Halliday to gain control of his empire.
Put like that it seems almost pedestrian, a kind of cross between Tron and Charlie and the Chocolate Factory, but it’s so much more than that. The commentary on escapism into an online world, a kind of VR Second Life where capitalism continues to operate as avatars depend on “coin” for how they look and what they can do, is acutely clever. So is the hint that not only has pop culture become, well, culture, but that the immediate access to cheap music and films will mean the pop culture of the late twentieth century will remain relevant and new pop culture will fail to be supported. There’s IOI with its “loyalty centres”, or debtor’s prisons, a serious potential future problem if debt laws are not reformed. There’s a reminder that reality is what actually matters and that being online is but an extension of this. There’s s love story. There’s the Holy Hand Grenade. There’s MechaGodzilla. This is easily the best new film I’ve seen for a long time.
Tuesday, 9 April 2019
Angel: Underneath
"This isn't Hell. It's the 'burbs."
This is an excellent finely crafted piece of television drama. The script is superb; I feel I haven’t praised Sarah Fain and Elizabeth Craft highly enough so here’s me doing it now. They are brilliant, whether it’s characterisation or plot, and their dialogue may not have the playfulness of a Joss Whedon but has a delightfully wry wit. I’ll miss them, and am puzzled at how little else they seem to have written.
This is a pivotal arc episode, of course; Lindsey is rescued so he can tell Angel what the Senior Partners are up to, namely corrupting him and his friends to keep the distracted from “the” Apocalypse, which is apparently the actual one and not one of those common or garden apocalypses that happen at the end of most Buffyverse seasons. It also sees Eve sign away her job, and her immortality, to a new liaison from the Senior Partners played by none other than Adam Baldwin, another Firefly alumnus. It’s cleverly done how he’s presented as an unstoppable threat who arrives implacably in front of Eve and produces... a pen.
Lindsey’s “holding dimension” is fascinating, reached by a magical car that evokes KITT from Knight Rider- we are primed to expect a Hell yet our first sight of him he looks very post-coital with his beautiful wife. Lindsey has a beautiful family in an enormous picket fence house but he seems to be afraid of the cellar. Only later do we find that he’s tortured there daily.
And here, of course, lies Gunn’s redemption. I love Angel’s pep talk to him as one who should know- yes, Gunn will forever be tormented by what he has done and yes, he should be. But he’s a good man and needs to atone. And that’s what he does- by taking Lindsey’s place in full knowledge that means daily torture. Redemption indeed.
But Lorne is headed in no such direction. Having run away unable to face Fred’s death he’s been drinking himself silly, depressed and disillusioned. He may have decided to return and pretend to be functioning but he’s clearly shocked to see Angel and Spike without Gunn.
All this and we get done nicely scripted interplay between a very grim Wesley and an Illyria horrified at her relative weakness. We still don’t like her yet, but the script is gamely trying.
Absolutely first class telly.
This is an excellent finely crafted piece of television drama. The script is superb; I feel I haven’t praised Sarah Fain and Elizabeth Craft highly enough so here’s me doing it now. They are brilliant, whether it’s characterisation or plot, and their dialogue may not have the playfulness of a Joss Whedon but has a delightfully wry wit. I’ll miss them, and am puzzled at how little else they seem to have written.
This is a pivotal arc episode, of course; Lindsey is rescued so he can tell Angel what the Senior Partners are up to, namely corrupting him and his friends to keep the distracted from “the” Apocalypse, which is apparently the actual one and not one of those common or garden apocalypses that happen at the end of most Buffyverse seasons. It also sees Eve sign away her job, and her immortality, to a new liaison from the Senior Partners played by none other than Adam Baldwin, another Firefly alumnus. It’s cleverly done how he’s presented as an unstoppable threat who arrives implacably in front of Eve and produces... a pen.
Lindsey’s “holding dimension” is fascinating, reached by a magical car that evokes KITT from Knight Rider- we are primed to expect a Hell yet our first sight of him he looks very post-coital with his beautiful wife. Lindsey has a beautiful family in an enormous picket fence house but he seems to be afraid of the cellar. Only later do we find that he’s tortured there daily.
And here, of course, lies Gunn’s redemption. I love Angel’s pep talk to him as one who should know- yes, Gunn will forever be tormented by what he has done and yes, he should be. But he’s a good man and needs to atone. And that’s what he does- by taking Lindsey’s place in full knowledge that means daily torture. Redemption indeed.
But Lorne is headed in no such direction. Having run away unable to face Fred’s death he’s been drinking himself silly, depressed and disillusioned. He may have decided to return and pretend to be functioning but he’s clearly shocked to see Angel and Spike without Gunn.
All this and we get done nicely scripted interplay between a very grim Wesley and an Illyria horrified at her relative weakness. We still don’t like her yet, but the script is gamely trying.
Absolutely first class telly.
Monday, 8 April 2019
Inhumans: Those Who Would Destroy Us
”I have to wait here until they send someone to bring me back.”
“Back where?”
“The Moon.”
“Cool!”
Episode 2 and, while the Hawaiian locations are visually sumptuous, I can’t help noticing that, after front loading the visual excitement of Attilan and all the awesome-looking Inhumans, we now have a shorn Medusa, less screen time for Lockjaw and most screen time either on Earth or in grey Attilan corridors.
We have four Inhumans on Earth: Karnak appears to have damaged himself; Gorgon has found some friends who accept what he is; Medusa is on a tourist bus; and Black Bolt is in central Honolulu being a damn fool. I can forgive the traffic incident which was beyond his control, but really- stealing clothes and assaulting a security guard? No wonder he gets himself arrrated on what threatens to be a tedious sub-plot.
Things are more interesting on Attilan, as ever, as Iwan Rheon shows himself to be superb as ever, with Maximus playing his little power games with that classic mixture of charm and threats to try and get Crystal and the Genetics Council onside. His flirting with political radicalism, with there being an existing underclass, is interesting. He’s playing with fire here but the grievances appear genuine. It’s interesting, too, that Crystal’s own parents were political radicals who opposed the royals.
Also interesting is Auran, agent and assassin working for Macimus who appears to be able to come back to life after being killed. So far there’s a lot of potential promise here in the ply lines, but it’s becoming clear that, Maximus and Black Bolt aside, few of the characters exactly ooze charisma and there looks to be a worrying amount of Earthbound treading of water.
“Back where?”
“The Moon.”
“Cool!”
Episode 2 and, while the Hawaiian locations are visually sumptuous, I can’t help noticing that, after front loading the visual excitement of Attilan and all the awesome-looking Inhumans, we now have a shorn Medusa, less screen time for Lockjaw and most screen time either on Earth or in grey Attilan corridors.
We have four Inhumans on Earth: Karnak appears to have damaged himself; Gorgon has found some friends who accept what he is; Medusa is on a tourist bus; and Black Bolt is in central Honolulu being a damn fool. I can forgive the traffic incident which was beyond his control, but really- stealing clothes and assaulting a security guard? No wonder he gets himself arrrated on what threatens to be a tedious sub-plot.
Things are more interesting on Attilan, as ever, as Iwan Rheon shows himself to be superb as ever, with Maximus playing his little power games with that classic mixture of charm and threats to try and get Crystal and the Genetics Council onside. His flirting with political radicalism, with there being an existing underclass, is interesting. He’s playing with fire here but the grievances appear genuine. It’s interesting, too, that Crystal’s own parents were political radicals who opposed the royals.
Also interesting is Auran, agent and assassin working for Macimus who appears to be able to come back to life after being killed. So far there’s a lot of potential promise here in the ply lines, but it’s becoming clear that, Maximus and Black Bolt aside, few of the characters exactly ooze charisma and there looks to be a worrying amount of Earthbound treading of water.
Saturday, 6 April 2019
From Hell (2001)
“You’re not going to see the twentieth century...”
I first saw this at the pictures when I was at uni back in 2001, long before I first read Alan Moore and Eddie Campbell’s magnificent graphic novel. I quite enjoyed it at the time, I remember. This time, not so much. Is it because a whodunit which only hints at the depths of the graphic novel seems much shallower in comparison, in effect meaning that the film is unfairly disadvantaged in my estimation because I happen to have read the source material? Or is it that watching graphic entertainment based on the murder and misogynistic disembowelling of women is perhaps a more unsettling viewing in 2019 than it was in 2001?
Perhaps a bit of both. Certainly the film works well as a whodunit, although it skates close in the early scenes a couple of tones to giving away Jack the Ripper’s identity. But the real meat of the graphic novel, the long monologues by Gull and especially the stuff about Freemasons and “Juwes” (how true is what Moore claims?) is dealt with only superficially. But perhaps there are only so many depths you can reach in a two hour film.
Beyond the simple script the film is well shot, well made and well cast with a pre-Jack Sparrow Johnny Depp convincing as a cockney copper, bizarre though the decision to have Abberline chase the dragon may be; the original version of the character is very different. Heather Graham impressed as Mary, Ian Holm is superb as Gull, Robbie Coltrane is the perfect sidekick and the late Ian Tichardson is a good laugh as Abbeline’s stupid Freemason boss. It’s a perfectly decent film in many ways, although inevitably it dwells on the horrible murders of women. But I think inevitably it looks shallow, perhaps unfairly given what can fit into two hours, than the source material.
Perhaps a bit of both. Certainly the film works well as a whodunit, although it skates close in the early scenes a couple of tones to giving away Jack the Ripper’s identity. But the real meat of the graphic novel, the long monologues by Gull and especially the stuff about Freemasons and “Juwes” (how true is what Moore claims?) is dealt with only superficially. But perhaps there are only so many depths you can reach in a two hour film.
Beyond the simple script the film is well shot, well made and well cast with a pre-Jack Sparrow Johnny Depp convincing as a cockney copper, bizarre though the decision to have Abberline chase the dragon may be; the original version of the character is very different. Heather Graham impressed as Mary, Ian Holm is superb as Gull, Robbie Coltrane is the perfect sidekick and the late Ian Tichardson is a good laugh as Abbeline’s stupid Freemason boss. It’s a perfectly decent film in many ways, although inevitably it dwells on the horrible murders of women. But I think inevitably it looks shallow, perhaps unfairly given what can fit into two hours, than the source material.
Friday, 5 April 2019
Angel: Shells
"My world is gone."
"Now you know how I feel..."
Killing Fred was a brave move and a huge one. She was a hugely likeable and universally adored character, killed much as Tara had been in Buffy- Wes, like Willow, had only just got together with the love of his life before her cruel and pointless death the following episode. So far, so structurally similar. But Wes is now a harder character, not in a dark Willow sense but in the sense that something inside him has died. Worse, Fred may be dead but her body is now occupied by Illyria, an Old One seemly fond of the east coast of the Adriatic. And, just to rub it in this new character is played with chilling effect by Amy Acker, showing her phenomenal range as an actress.
Illyria is, of course, a baddie, and naturally she has an evil plan which this episode consists of her trying to execute. But, of course, her kingdom and her army have long gone, and she has no purpose. Her resurrection, and Fred's death, were both meaningless, much like Knox's life, shaped by his empty faith that brings him nothing. It's all very bleak. But, bravely, the episode ends by trying to get us to emphasise with Illyria along with Wesley, who has as much reason to hate her as anyone.
It's certainly courageous to make such a bold move as killing Fred and then tr y to get us to emphasise with her killer, who is played by the same actress. Certainly the main cast are devastated. Lorne can't deal with it at all. Wesley is changed, cold-hearted in a world without Fred, shooting Knox dead and stabbing Gunn when he finds out the truth. As for poor Gunn... this is where his betrayal is exposed, and he's devastated.
This isn't an episode to like, but one to hugely admire. Extraordinary television.
"Now you know how I feel..."
Killing Fred was a brave move and a huge one. She was a hugely likeable and universally adored character, killed much as Tara had been in Buffy- Wes, like Willow, had only just got together with the love of his life before her cruel and pointless death the following episode. So far, so structurally similar. But Wes is now a harder character, not in a dark Willow sense but in the sense that something inside him has died. Worse, Fred may be dead but her body is now occupied by Illyria, an Old One seemly fond of the east coast of the Adriatic. And, just to rub it in this new character is played with chilling effect by Amy Acker, showing her phenomenal range as an actress.
Illyria is, of course, a baddie, and naturally she has an evil plan which this episode consists of her trying to execute. But, of course, her kingdom and her army have long gone, and she has no purpose. Her resurrection, and Fred's death, were both meaningless, much like Knox's life, shaped by his empty faith that brings him nothing. It's all very bleak. But, bravely, the episode ends by trying to get us to emphasise with Illyria along with Wesley, who has as much reason to hate her as anyone.
It's certainly courageous to make such a bold move as killing Fred and then tr y to get us to emphasise with her killer, who is played by the same actress. Certainly the main cast are devastated. Lorne can't deal with it at all. Wesley is changed, cold-hearted in a world without Fred, shooting Knox dead and stabbing Gunn when he finds out the truth. As for poor Gunn... this is where his betrayal is exposed, and he's devastated.
This isn't an episode to like, but one to hugely admire. Extraordinary television.
Thursday, 4 April 2019
Big Hero 6 (2014)
"That is both disgusting and awesome..."
A somewhat unusual Marvel film here, but an inevitable consequence of said comics giant being swallowed by the greedy jaws of Disney. Awesome Stan Lee cameo aside, the obscure Marvel origins are minimised in order to make a Disney kids' film, and the result works well.
Hence there's no Silver Samurai and no Sunfire. The setting is not Japan but the amusingly named "San Francokyo". But it's all very Disney with the plot, characters and humour having all the kid-friendly charm we might expect. So Hiro inevitably becomes the, er, hero while Baymax becomes the kind of cute robot we might also expect from Disney. I don't know the source material myself (I Googled it; 1998 is well after my comics-reading days) but it adapts amazingly well to the modern house style of a Disney kids' film.
There are some awesome ideas, like the Microbots (wasn't there something like these in the Bob Budiansky Transformers comics in the '80s?), Alan Tudyk as the (spoilers) red herring and all the cool robotics. But it's a heartwarming tale of a boy coming to terms with grief at its, er, heart while at the same time, with the character of Professor Callaghan, showing us the terrible things that grief can make us do. Plus, of course, Hiro gets five, yes five, comedy superhero sidekicks (because that's what they are) with powers.
It's definitely a Disney kids' film which will appeal mainly to kids (not Little Miss Llamastrangler, sadly; it is apparently lacking in princesses), but is a charmingly different little superhero film.
Hence there's no Silver Samurai and no Sunfire. The setting is not Japan but the amusingly named "San Francokyo". But it's all very Disney with the plot, characters and humour having all the kid-friendly charm we might expect. So Hiro inevitably becomes the, er, hero while Baymax becomes the kind of cute robot we might also expect from Disney. I don't know the source material myself (I Googled it; 1998 is well after my comics-reading days) but it adapts amazingly well to the modern house style of a Disney kids' film.
There are some awesome ideas, like the Microbots (wasn't there something like these in the Bob Budiansky Transformers comics in the '80s?), Alan Tudyk as the (spoilers) red herring and all the cool robotics. But it's a heartwarming tale of a boy coming to terms with grief at its, er, heart while at the same time, with the character of Professor Callaghan, showing us the terrible things that grief can make us do. Plus, of course, Hiro gets five, yes five, comedy superhero sidekicks (because that's what they are) with powers.
It's definitely a Disney kids' film which will appeal mainly to kids (not Little Miss Llamastrangler, sadly; it is apparently lacking in princesses), but is a charmingly different little superhero film.
The Gifted: Season 1, Episode 12 and 13- eXtraction and X-Roads
“I’m the only person in this family who’s actually proud to be a Von Strucker!”
...
“The X-Men made a mistake. This is who I am”
The finale was broadcast, for some reason, as a feature length double bill, so I’m treating it as such. And... well, it had a few surprises, but... meh. I’ll probably end up seeing the next season before too long but only because Mrs Llamastrangler is happy to watch it with me. It’s lucky to have that reprieve, because a promising start has been wasted in becoming a predictable, plodding, repetitive programme in which the characters never seem to actually drive the narrative.
The penultimate episode focuses on the Mutant Underground trying to kidnap Campbell at some anti-Mutant event in North Carolina while Reed and co try to find his mother, Cagney from Cagney & Lacey, to keep her safe from bad old Sentinel Services. But not much happens other than the usual angst- Andy is increasingly wondering whether his ancestors had the right idea, putting him at odds with the rest of the family, while Lorna and Marcos continue to clash over ethics as Lorna gets constantly reminded of who her father is. It’s all somewhat tedious aside from an in-joke about Sentinel Services originally intending to use robots but not doing so for, presumably, budgetary reasons.
We also have hints that John and Clarice are going to get together as at first he berates her over her Brotherhood ("of Evil Mutants") past, and then apologises later and gets a snog. I bet they will. We end with the attack on the conference going all wrong.
The final "episode" concerns the siege of Mutant Underground's HQ by Sentinel Services and later the Hounds while Polaris nips off to assassinate Campbell and his nasty senator friend and, praise be, the reset button remains unpressed. Stuff actually happens. The Struckers all save the day, evacuating everyone; Marcos, with Blink and John, fails to stop Lorna from dramatically turning a plane full of people into a fireball; Jace quits. All this and a face with "J. Kirby" written on it. And then we get the dramatic finale in which Lorna and the Frosts turn up and convince half the mutants to join them... including Andy.
It's an effective finale, yes. But it feels as if the series has been treading water for episodes upon episodes and only because it's the finale are things actually allowed to happen. That isn't in the grand Chris Claremont X-Men tradition; nor is it good episodic television. Please do better next season. A writer's room can be a creative thung but this very much feels written by committee.
...
“The X-Men made a mistake. This is who I am”
The finale was broadcast, for some reason, as a feature length double bill, so I’m treating it as such. And... well, it had a few surprises, but... meh. I’ll probably end up seeing the next season before too long but only because Mrs Llamastrangler is happy to watch it with me. It’s lucky to have that reprieve, because a promising start has been wasted in becoming a predictable, plodding, repetitive programme in which the characters never seem to actually drive the narrative.
The penultimate episode focuses on the Mutant Underground trying to kidnap Campbell at some anti-Mutant event in North Carolina while Reed and co try to find his mother, Cagney from Cagney & Lacey, to keep her safe from bad old Sentinel Services. But not much happens other than the usual angst- Andy is increasingly wondering whether his ancestors had the right idea, putting him at odds with the rest of the family, while Lorna and Marcos continue to clash over ethics as Lorna gets constantly reminded of who her father is. It’s all somewhat tedious aside from an in-joke about Sentinel Services originally intending to use robots but not doing so for, presumably, budgetary reasons.
We also have hints that John and Clarice are going to get together as at first he berates her over her Brotherhood ("of Evil Mutants") past, and then apologises later and gets a snog. I bet they will. We end with the attack on the conference going all wrong.
The final "episode" concerns the siege of Mutant Underground's HQ by Sentinel Services and later the Hounds while Polaris nips off to assassinate Campbell and his nasty senator friend and, praise be, the reset button remains unpressed. Stuff actually happens. The Struckers all save the day, evacuating everyone; Marcos, with Blink and John, fails to stop Lorna from dramatically turning a plane full of people into a fireball; Jace quits. All this and a face with "J. Kirby" written on it. And then we get the dramatic finale in which Lorna and the Frosts turn up and convince half the mutants to join them... including Andy.
It's an effective finale, yes. But it feels as if the series has been treading water for episodes upon episodes and only because it's the finale are things actually allowed to happen. That isn't in the grand Chris Claremont X-Men tradition; nor is it good episodic television. Please do better next season. A writer's room can be a creative thung but this very much feels written by committee.
Wednesday, 3 April 2019
The Maltese Falcon (1941)
“You... you imbecile. You bloated idiot. You stupid fat-head, you."
This film may be a remake, and I may have a policy of not seeing remakes before originals, but you have to draw the line somewhere; the original version of this is ancient and obscure, and in any case I’d say both are just different adaptations of the same novel so the argument doesn’t apply.
This film is, I hope you’re not surprised to read, jaw-droppingly good. I’m well-verses with the works of Raymond Chandler, but less so with Dashiell Hammett whom I haven’t read at all. The genre, and Spade himself, feel very much straight out of the splendid novels of Chandler, though; femme fatales; a jaded, cynical, witty but secretly moral hero; people trying to get along in an imperfect and sinful world; hats and/or cigarettes everywhere. And at the centre of it all is the sublime Humphrey Bogart. To my shame, this is the first film of his that I’ve seen. It won’t be the last. And the entire cast is superb.
The film is brilliantly shot, too, by the young John Huston; there are some particularly brilliant shots. I noticed that when Sam picks up the phone to hear of Archer’s death we first see only the phone, then his hand. Only later do we see Sam’s face.
The plot is complex but clearly told and engaging; the dialogue is amazing; the characters gripping; the conclusion deeply satisfying. This is a movie everyone should see.
This film is, I hope you’re not surprised to read, jaw-droppingly good. I’m well-verses with the works of Raymond Chandler, but less so with Dashiell Hammett whom I haven’t read at all. The genre, and Spade himself, feel very much straight out of the splendid novels of Chandler, though; femme fatales; a jaded, cynical, witty but secretly moral hero; people trying to get along in an imperfect and sinful world; hats and/or cigarettes everywhere. And at the centre of it all is the sublime Humphrey Bogart. To my shame, this is the first film of his that I’ve seen. It won’t be the last. And the entire cast is superb.
The film is brilliantly shot, too, by the young John Huston; there are some particularly brilliant shots. I noticed that when Sam picks up the phone to hear of Archer’s death we first see only the phone, then his hand. Only later do we see Sam’s face.
The plot is complex but clearly told and engaging; the dialogue is amazing; the characters gripping; the conclusion deeply satisfying. This is a movie everyone should see.
Monday, 1 April 2019
The Gifted- Season 1, Episode 11: 3 x 1
“They got the job done."
"Is that all that matters?"
Sigh. After an episode that seemed to change the status quo it's back to an episode of the same arguments and the same running around that we've seen all season. Can something happen please?
I mean, it's good to have the Hellfire Club around, although it's unclear what they exist for in this continuity, and the Frost sisters aren't cool, although apparently they aren't Emma but the Cuckoo Sisters, from well after my time in the comics. It's also great to have the heavy hint that Polaris is Magneto's daughter. But, I mean, really? Do we need the Struckers to have another family argument about what to do until daddy knows best and they all try to flee to Mexico, only to have plot convenience force them back to the Mutant Underground? Do we need the exciting revelation that is the Cuckoo Sisters to be wasted as a pretext for the Mutant Underground to have yet another bloody debate and do sod all? Do we need Campbell's big evil plan to turn out to just be mutants combining their powers?
It's beginning to feel, after a promising few episodes, that nobody here has any real agency except the Cuckoo Sisters, who we've only just bloody met. The parallel funeral sequences achieve little to highlight what flat and shallow ciphers both Polaris and, especially, Jace have become. Does Jace have moral doubts or doesn't he? There's no bloody consistency from episode to episode.
This series looked promising but I have m doubts about whether it's really going anywhere. I'll give it until the end of the season and see.
"Is that all that matters?"
Sigh. After an episode that seemed to change the status quo it's back to an episode of the same arguments and the same running around that we've seen all season. Can something happen please?
I mean, it's good to have the Hellfire Club around, although it's unclear what they exist for in this continuity, and the Frost sisters aren't cool, although apparently they aren't Emma but the Cuckoo Sisters, from well after my time in the comics. It's also great to have the heavy hint that Polaris is Magneto's daughter. But, I mean, really? Do we need the Struckers to have another family argument about what to do until daddy knows best and they all try to flee to Mexico, only to have plot convenience force them back to the Mutant Underground? Do we need the exciting revelation that is the Cuckoo Sisters to be wasted as a pretext for the Mutant Underground to have yet another bloody debate and do sod all? Do we need Campbell's big evil plan to turn out to just be mutants combining their powers?
It's beginning to feel, after a promising few episodes, that nobody here has any real agency except the Cuckoo Sisters, who we've only just bloody met. The parallel funeral sequences achieve little to highlight what flat and shallow ciphers both Polaris and, especially, Jace have become. Does Jace have moral doubts or doesn't he? There's no bloody consistency from episode to episode.
This series looked promising but I have m doubts about whether it's really going anywhere. I'll give it until the end of the season and see.
Batman v Superman: Dawn of Justice (2016)
“ Ding dong, the god is dead.”
I'm struggling to think of any film I've ever seen that's worse than this two and a half hours of empty, cynical, pointless drivel. The only consolation is that I have this blog and at least I get to put thid film over my knee and give it a sound spanking. I pity those who had to see this film without such an outlet.
So why so execrably awful? Well, there’s the obvious things which have often been pointed out- unlike Marvel, who carefully nurtured all the main characters in their individual films before bringing them all together in The Avengers, DC saw fit to follow the flawed but ok Man of Steel with this- a continuity-heavy crossover with a Batman we haven’t properly met, no soul and a music video sensibility of scene following scene at a bewildering pace without slowing down so we can get to know and care about the characters.
Then there’s the direction from alleged pervert Zack Snyder- technically well done, competent, but devoid of any individual style or personality. But worse than any of this is the message of the film. We expect Hotham, and the world of the Batman, to have a certain darkness, although branding people is a bit much. Yes, it’s nice to have an older, veteran, perhaps cynical Batman from the start. But Superman should be a contrast yet he’s depicted as a self-doubting throwback to less cynical times, a throwback to liberal times who is stranded in that godawful year 2016. But that’s lazy; the character of Dioetman is essentially the optimistic creation of two idealistic Jewish youngsters in the far darker days of 1938. The character of Superman has seen off much bigger bastards than Trump and Brexit and I hate the implication that morality and liberalism are outmoded values in these right wing, nativist days- and yes, those placards held by the anti-Superman protesters outside Congress are very anti-immigrant- where the simple fact is that we liberals can, and will, smash their stupid faces in. To suggest otherwise is not only to misunderstand and disrespect the character of Superman but send a very cynical political message that nothing matters and there’s no point. “No one stays good in this world”, says Superman.
So, yeah, I hate what this film is saying. But that’s not all; it’s over-complicated, confusing fanwank where all the attempts to make you sympathise with the characters fail both because of the clinical style and the fact that we’ve yet to get to know these characters- the only character here who is actually likeable is Laurence Fishburne’s delightfully quotable Perry White. Oh, and Luthor. I love Jesse Eisenberg’s witty, fast-talking Luthor, an eccentric Nietzchean, er, “superman”. But the film is full of good actors who are either woefully miscast- Jeremy Irons and, yes, Ben Affleck- or playing shallow, badly written characters. It’s a terrible script, a terrible film and a terrible basis for a cinematic universe. Even Justice League is not quite so bad as this.
So why so execrably awful? Well, there’s the obvious things which have often been pointed out- unlike Marvel, who carefully nurtured all the main characters in their individual films before bringing them all together in The Avengers, DC saw fit to follow the flawed but ok Man of Steel with this- a continuity-heavy crossover with a Batman we haven’t properly met, no soul and a music video sensibility of scene following scene at a bewildering pace without slowing down so we can get to know and care about the characters.
Then there’s the direction from alleged pervert Zack Snyder- technically well done, competent, but devoid of any individual style or personality. But worse than any of this is the message of the film. We expect Hotham, and the world of the Batman, to have a certain darkness, although branding people is a bit much. Yes, it’s nice to have an older, veteran, perhaps cynical Batman from the start. But Superman should be a contrast yet he’s depicted as a self-doubting throwback to less cynical times, a throwback to liberal times who is stranded in that godawful year 2016. But that’s lazy; the character of Dioetman is essentially the optimistic creation of two idealistic Jewish youngsters in the far darker days of 1938. The character of Superman has seen off much bigger bastards than Trump and Brexit and I hate the implication that morality and liberalism are outmoded values in these right wing, nativist days- and yes, those placards held by the anti-Superman protesters outside Congress are very anti-immigrant- where the simple fact is that we liberals can, and will, smash their stupid faces in. To suggest otherwise is not only to misunderstand and disrespect the character of Superman but send a very cynical political message that nothing matters and there’s no point. “No one stays good in this world”, says Superman.
So, yeah, I hate what this film is saying. But that’s not all; it’s over-complicated, confusing fanwank where all the attempts to make you sympathise with the characters fail both because of the clinical style and the fact that we’ve yet to get to know these characters- the only character here who is actually likeable is Laurence Fishburne’s delightfully quotable Perry White. Oh, and Luthor. I love Jesse Eisenberg’s witty, fast-talking Luthor, an eccentric Nietzchean, er, “superman”. But the film is full of good actors who are either woefully miscast- Jeremy Irons and, yes, Ben Affleck- or playing shallow, badly written characters. It’s a terrible script, a terrible film and a terrible basis for a cinematic universe. Even Justice League is not quite so bad as this.
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