Better Call Saul: Nailed

 "Like two hundred bucks expensive...?"

Oh Jimmy. Oh Kim. Oh Chuck. This penultimate episode is where, if I can play fast and loose with metaphotrical cliches, the chickens that are Jimmy's sabotage with the photocopier last episode come home to roost. Which is... yeah, a terrible sentence. But I'm going to leave it as it is, because I'm a terrible person.

Chuck, in court, is humiliated, meant to look a buffoon. Then, and shortly after, it's made clear that, while in recovery, he's mentally fragile, however intellectually sharp he may be, and however easily he may be able to realise what's happened... which leads us to a truly fascinating scene played with utter sublimity by three actors of the very first rank. Chuck explains to Kim what he believes Jimmy did, with great perception and accuracy. Bob Odenkirk is superb in playing Jimmy's blustering, while Rhea Seehorn is extraordinary, giving us a seething emotional reaction from Kim which could mean either she believes Chuck or she doesn't. Despite initial appearances, for Chuck's benefit... she does. And this is going to remain unspoken and drive a wedge between her and Jimmy.

As an interlude... Mike's subplot is the fun one, aa he stages a caper to steal huge wodges of cash. Very clever. Very Zorro. Well done. Drinks all round. Except... Nacho can put two amd two together. Will Hector? Worse: a "Good Samaritan" died because of Mike's actions. Yes, Hector was the killer, but... consequences.

So it is for Jimmy. He sees, with his own eyes, the consequences of his actions as a Chuck who is stressed, upset, not well... hits his head on a counter. Jimmy is charming, personable, likeable. It takes a while to realise what a malevolent, destructive, evil man he is. And yes, he is. You're right, Dave.

This extraordinary series gets deeper and deeper into the human condition.

Star Crash (1978)

 "Time for a little robot chauvinism!"

What's that you say?You suspect this hilariously low budget space opera, clearly based on the style of old movie serials, may not be entirely uninfluenced by a certain Hollywood blockbuster of the previous year? Really...?

In one sense the contrast between this film and Star Wars is hilarious. The star fields and models, while trying to evoke Star Wars, are rubbish. The script and acting are gfloriously cheesy, although Caroline Munro is genuinely charismatic and awesome. David Hasselhoff's hairstyle is not merely awful, but the most awful of all possible hairstyles.

I'll cut to the chase: this is a terrible film. But there are two types of terrible films- boringly terrible and hilariously terrible.This is a hilarious episode of the second kind, with absurd concepts, dialogue and plot twist. The emperor (played by a visibly embarrassed Christopher Plummer) at one point just stops time for plot convenience. Even better, at one point Akton seems to know things he wouldn't obviously know, and Stella immediately makes the leap of logic that he can see the future. But Akton then explains he can never tell her what's to come because she would try to change the future that's "against the law, so therefore I can tell you nothing"... all while he's merrily changing the future himself. Perhaps I ought not to be applying logic and reason here.

This is also a fascinating halfway house between Star Wars and the previous generation of space operas. This may be obviously influenced by movie serials, but there's none of the Joseph Campbell fairytale vibes. And we also have moments of stop motion animation right out of a Ray Harryhausen film. This film may be awful, but gloriously so.

1917 (2019)

 "Am I dying?"

"Yes, yes, I think you are."

Wow. How else can I begin? This film is at once a tour de force of cinematography, an epic quest that is at times both dreamlike and almost evocative of Lord of the Rings... and profoundly, deeply, realistic. It's a profound work of the cinematic art that will linger in my mind. And I'm sure there are subtexts and metaphors which have just swooshed right over my head.

The cinematography, by the great Roger Deakin, is sublimre, giving us a textured world that feels at once both of its time and utterly real. The first few minutes, from the field right through the trenches and what must be a cavernous set, are apparently a single shot... and the feat is repeated again and again as Schofield and Blake traverse the bleak sights of No Man's Land on their desperate mission.

The War and its very real horrors are superbly evoked- the rats, the mud, the fear, the grim humour, the bloody awful food, the normalisation of violent death. The dialogue feels real So do the characters- we get to know Blake and Schofield very well, and Schofield's slow metamorphosis from reluctance to absolute determination is well-earned and feels real.

And yet... there is also, somehow, a mythic element here, an epic quest, a kind of Odyssey, a picaresque tale of wanderings. It is hard not to see the cherry trees as metaphor- cut down in their prime, but they will grow again. And the poor orphaned baby, with milk from Schofield, is another sign that out of death comes rebirth. And yet, at the same time, war is unremittingly grim.

An extraordinary work of genius. Literally my only criticism is of Colin Firth's moustache.

Better Call Saul: Fifi

 "Things work out the way they're supposed to, I guess..."

We begin with an extraordinary tour de force of direction with a van crossing the border from the part of Mexico run by the Mexican government to New Mexico, a part of Mexico occupied by the United States since 1848. He said innocently. But this is all one shot, with so many camera angles, as exacting as theatre but in more dimensions. Exquisite.

This is part of Mike's sub plot where, as well as having a nice grandad/granddaughter scene, he plots his revenge against Hector. But that's for later. This episode is about Jimmy, Kim, and Chuck.

Kim, as I may have occasionally mentioned, is doomed. Yet the die is cast. She resigns to an oddly gracious Howard who, once again, shows himself to be tough but not necessarily a total bastard or without integrity, much as his management style is, thank the gods, frowned upon these days.

Thing is, she has all her eggs in the Mesa Verde contract. She does well, is about to get it, but... is sabotaged. By Chuck. Whose first day in the office without the tech hocus pocus is all aboit screwing over Kim, which Jimmy is somewhat displeased by, hence... and I never expected to type these words... a MacGyver-style photocopying montage.

Jimmy has, basically, set Chuck up to fail. And, in so many ways, his arrogant older brother deserves it. But Chuck expressesa his gratitude for Jimmy staying with him, which he disn't. Ouch.

Two episodes to go.So many twists and turns. This episode feels primed and ready to emit intense dramatic stuff. Simply masterful writing. And that's not without even deploring the characters' sadly realistic ignorance of the Pacific theatre of the Second World War.

The Mandalorian: The Return

 "Mandalorians are stronger together."

And so the season ends. Din Djarin gets an epic heroic quest to do, and shower himself in honour from all, with thev rather adorable help of R5, the honourable help of his lady liege Bo-Katan, and the rather awesome help of soon-to-be-Din Grogu, exemplar of how every fighter needs a magic user in the party to provide magical protection. This is the way.

This is an awesome finale. Yes, as has been discussed, this season has turned the focus somewhat away from Din Djaron and towards Bo-Katan and Mandalore. Yet the ending swerves decisively away from that, and why should a show called "The Mandalorian" not focus on such things?

Moff Gideon, I trust, is gone for good. He was a great villain, not least because Giancarlo Esposito (watch Breaking Bad and The Boys!) is an actor of the very first rank who needs to do some classical theatre very soon. He excels at morally flawed yet brilliant and charismatic figures. Prospero? Mark Antony? Coriolanus...? 

Anyway, this is both a dsuperb finale, destroying the Darksabre yet leaving Mandalore united and with hope, wheras Din Djarin and Din Grogu, shrouded in honour, unofficially set of to help the New Republic police the Outer Rim.

This is the way. This is how to cap an excellent season.

This Week

 Just to say that there’s a specific and temporary reason for my absence at the moment. I don’t expect to blog again until Sunday, most likely, but normal bloggery will resume from then on, fear ye not.

Before that, though, one more thing to blog…

Duck Children (2001)

 This is an eight minute short film, sperficially giving the message (Amewricans, this isaimed at you) that civilians owning firearms is, obviously, not coinsistent with not being a ***ing barbaric ****. Just saying, you know.

Anyway, this is film as theatre in thatr a camera is pointed at some young children being charmingly made to perform on stage as deucks. Lovely. Then some redneck ****, with a firearm, typica;;y owned by men woith very small penises, proceeds to murder them all, proving that all gun ownersa- minus farmers worried aboiut foxes, sporting types keeping their guns locked in clubs etc- are not human. Seriously. If you own a military type of gun, like a machine gun or some **** like that, stay away from me and my child, and think about your evil lifestyle.

Anyway, I adore the deliberately theatrical bent of this piece of very short cinema. School shootings are evil. Americans: if you believe gun ownership is more important than the lives of children... just die. Children's lives are precious, as though that needs saying.

Your neighbour owns a gun, and is not a farmer? Call the police. This person is a criminal.

Better Call Saul: Inflatable

 "There are wolves and sheep in this world, kid."

Oh Kim. We know you're doomed. The dramatic irony is blatant. The script wants us to know what you don't: turning down the awesome job to rely on Jimmy is going to destroy you. And it's not as though you haven't been warned. You're a sheep, Kim. Remember what Chuck told you about Jimmy?

Mike, you are obviously a wolf, but a fascinating one. You have principles. You're a genuinely great father-in-law, your ulterior motives are good...but you're a world-weary cynic who knows the world and how to survive in it.

And Jimmy... you're no alpha male. But you're a wolf. In possibly ironic contrast to Chuck- not in this episode- who, desapite his career and material success, is a man of sheeply principle. But you have no principoles, Jimmy. The opening flashback tells us how this came about- and yes, your dad was the sheepiest of sheep, even if that 70s newsstand was awesome to behold.

But Kim... oh, Kim...

Wolves and sheep aside, this episode is obviously awesome, and the "trying to get fired in a way which doesn't forfeit the bonus" montage is Office Space levels of funny. Telly seldom gets better than this.

Carry On Regardless (1961)

 "P.. P.. Panting?"

"No, that's the way I always breathe."

These early Carry Ons are fascinating... and, don't get me wrong, they're not unfunny. But it'll be a while before we get to the really good stuff. I'm afraid I'm anal about these things. I'm doing them in order.

Like most of the early films, this is a much gentler farce than would later become standard. It fits the early pattern. Surprisingly, Kenneths Connor and Williams predominate, with Williams slightly evolving from "intellectual" to "camp", and Charles Hawtrey sidelined a bit, although his boxing skit is hilarious.

Yet we have interesting, nay fascinating features here. A young, tough, Bill Owen, long before Last of the Summer Wine. Joan Simms giving an extraordinary performance in the wine tasting skit. The unique Stanley Unwin, with a language of his own. Incidentally, on the subject of said oddball, I suggest you type "Wubble U" and "Petal". This is a man of the '50s who looms large-ish in rave culture.

The film is... quite good, but no more than that. Sid James makes some progression towards the laughing lech he would become, but at this point is still far more of a straight man. Esma Cannon, as ever, is superb. Why is she not more well known?

Overall, though, it's clear why this film, while perfectly fine, is no highlight. It's a stepping stone. Greater stuff lies ahead.

Ninja Champion (1986)

 "Not the wine. My nipples, you jerk."

Oh, look. It's a cheap Hong Kong action film from the mid-80s, directed by Godfrey Ho and with the word "Ninja" in the title.  This will be a cinematic materpiece, right? And in no way a hilariously cheap little film full of laugh out loud moments and the most blatant of "as you know, Bob" clunky exposition?

Well, no. I mean, you could tell where that first paragraph was heading. I could, if I was feeling lazy, just say "this is a Godfrey Ho ninja film, you know the drill" and leave it there. But let's talk about the film, because it's fun.

The thing is, the plot is actually pretty well-constructed and satisfying, with clever reveals amongst the action, if you'll forgive the sudden use of a previously unmentioned identical twin sister. But the acting, dialogue and sheer 80s-ness of everything make it impossible to take the film seriously. There's a scene with a horny wife trying to turn on her frigid husband until the scene suddenly switches to her, on a beach, building a high, vertical tower out of hard stones. I'm sure there's subtext here but I can't quite put my finger on it.

There is a whiff of that very 80s nastiness where a woman is raped and sets out to kill her rapists, and this is at the centre of the film. Worse, the "hero", George, subsequently abandoned Rose as she was "soiled" by her rape. But I think he both comes to repent what he's done and is adequately punished by the end. He has lost Rose and will now be alone forever.

Hilariously, the ninja sub-plot is basically crowbarred in, and only really intersects with the main plot at the very end. But the fight sequences are fun. And that is, with a film like this, the main thing. 

Yeah, this film is rubbish. Gloriously so.

The Mandalorian: Chapter 23- The Spies

 "Yes. Yes. Yes. Yes. Yes. Yes."

Oh my. This is how you do a penultimate episode.

It's simple, really. Two sets of plans are made to retake Mandalore. The first by the united tribes of trad and rad Mandalorians under Bo-Katan, the second by Moff Gideon, finally revealed... and appearing in a splendid scene of imperial realpolitik that both references and rubbishes Grand Admiral Thrawn from the '90s Timothy Zahn books.

The Mandalorians' return to their home planet has an epic tale and feels like an ancient saga in how the events unfold. There are great character moments. Bo-Katan relating her surrender and betrayal by Gideon as Mandalore fell. Din Djarin declaring that he serves her not because of her royal blood but because of her character. That awesome, Michael Moorcock-like sand ship that evokes The Dragon in the Sword. How all seems hopeless at the end, like a film I need not mention. The heroic sacrifice of noble Paz Viszla.

And yes, IG-12, piloted by Grogu. The perfect comic relief to leaven this bread. Bring on the finale.

Iron Fist: Rolling Thunder Cannon Punch

 "It's my name!"

Like the two previous episodes, this is utterly gripping. We have the narrative of Danny trying to prove who he is and asserting his rights against the Meachums. Colleen (I liked the reference to Daughters of the Dragon) has an interesting arc with her joining in the cage fighting she'd previously denounced as dishonourable: sher's up to something. More compellingly, though, what drives the status quo forward now is connections with the wider Netflix Marvel world.

We know from laast episode that Harold wants to defy the hand. We now see him humiliated, controlled and belittlred by Madame Gao. Meanwhile, a seemingly desperate Danny finds none other than Jeri Hogarth, gains her trust, and suddenly his legal situation is looking up. The legal machinations of Jeri are hugely entertaining. What's more Danny seems to be starting to suspect that Harold may well not be quite so dead...

So far this is as good as any of its predecessors. Acting included, overall.

BMX Bandits (1983)

 "Your little walkie talkies... have gone walkies."

I had my opening line all planned out. You know, Mad Max II, Picnic at Hanging Rock etc always get cited as Australia's greatest cinematic achievement, yet this- a childhood favourite of mine, hired often from a local video shop- never gets a mention.

Well, having seen it again for the first time since the '80s I must admit it's not quite in such exalted company: this is a fairly formulaic action film for kids, notable, to those without my nostalgia, only for the early appearance of Nicole Kidman. But, while a formulaic film can't truly be compared to the greats of the cinematic arts, there's absolutely wrong with using a formula if it's executed well, as this film is. It may not be one of those films helmed by Brian Trenchard-Smith that makes one Mr Tarantino rate him so highly, but it's bloody good fun to watch and a perfect example of this kind of film.

We have charismatic young leads, a quietly witty script, loads of kid-friendly action sequences, and baddies who never actually kill anyone while striking the right balance between comedic and threatening. Best of all, we have loads and loads of extremely cool BMX stunts. This film is every bit as good as my fond memories were hoping for.

Even better, it wears its 80sness loud and proud. One of the baddies wears a Minder T-Shirt with Arthur Daley's face plastered all over it. And Sydney has never looked better than when BMX bikes are being chased by cars. This is a very, very fun way to spend ninety minutes,

Dead Set: Part 5

 "This makes you the winner of this year's Big Brother".

That quote up there... yeah, it's an empty prize, but aren't they always, zombie apocalypse or no? Blimey, this is far more Hobbesian than I remembered. Utterly, splendidly bleak.

The dark catalyst of a character is, of course, Patrick- a toxic boss and an utter wanker, a liability in normal ligfe but absolutely impossible in a situation of base under siege. This isn't a message of conformity or that individualism is bad; the group are diverse, different and act as a democracy. But the Patricks of this world have no time for the collective. Here, his pointless escape will open the gate and risk everyone. He has to die, as decent people must realise. It's horrible.

Worse, we have Joplin- weak, pretentious, not as clever as he thinks, the perfect pause. And so things degenerate into utter hopelessness. Kelly's heroic last stand consists of just an immediate short scream. We end with a landscape of only zombies and cameras. Metaphor much?

Wow. Zombie apocalypse? Thatcher's children stand no chance. Simply superb.

The Mandalorian: Chapter 22- Guns for Hire

 "I don't think they get many of our kind here..."

The Mandalorian can pretty much do no wrong at the moment. Take this episode, for example. Narratively, it's a case of the season arc quite transparently stopping for an episode so we can have a quasi-whodunit set in a decadent society where all citizens live lives of leisure, served by droids, and where blatantly Asimov themes of robotics, as on the Spacer worlds, play out.

And yet... look at the world building. The ultimate culprit, played by the wonderful octogenarian Christopher Lloyd, is a Separatist devotee of Count Dooku. Mando gets to show off his experience of Ugnaught culture. We have a brief appearance of star-cross'd lovers, a Quarren captain and a Mon Calamari prince. And we get a droid bar. I love the droid bar. Yet I also love the depiction of a post-work society which will, in a few generations, collapse into utter decadence.

It's such fun seeing droid-hating Mando interact with Bo Katan here, both joint stars of the show here. Yet the conclusion almost transcends all as Bo-Katan wins over the mercenary Mandalorians by taking the Darksabre from a willing Mando... on a devilishly clever technicality. This is all just bloody brilliant. And Grogu even gets a bloody knighthood...