Chasing Amy (1997)

 "Since you like chicks, right, do you just look at yourself naked in the mirror all the time?"

Time for another View Askewniverse film in my meandering marathon... and this one is not only bloody good, but beneathe the humour it explores some rather serious themes. Don't get me wrong, I like good films of any genre, but I tend not to seek out many romantic comedies because, well, I'm a bloke. Sometimes, I feel, even the good ones can have a very superficial, greetings card view of love and relatiobships. Yes, Richard Curtis, I'm looking at you.

This film is not like that. This is real.

I've seen this film before, at uni, but that was, ahem, a couple of years ago. I've lived a lot and loved a lot since then. And, well, 1997 was a long time ago. At least, I hope fewer men today are as much of a dick as Holden.

It's interesting looking back into an age when acceptance of LGBT issues (although the T wasn't thought about much back then) was evolving. The twentysomething characters here don't approve of bigotry, the word "homophobia" exists, although quite new, and, as illustrated by Banky, we have that by now dated trope that men who are bigoted about gay men are in denial about their own sexuality.

But the crux of it all is the sexual politics between women and men. Because Alyssa is completely wonderful- witty, funny, kind, fun and basically an amazing person. Holden is very lucky that she loves him.And she does. She gives up her friendships to be with him. She gives him everything.

He doesn't deserve her. He goes all wobbly because... she dares to have a sexual past while being female. Yep, double standards again. And very immature attitudes to threesomes, ployamory and sex in general, skewered brilliantly by Kevin Smith. He destroys both his relationship with the love of his life and his relationship with his best friend. His heart is broken. Good. Serves him right. But breaking Alyssa's heart is unforgiveable. We get an ambiguous ending... Holden doesn't deserve a happy one.

This film is mature, devastating, superbly acted and written, and has some very nice directorial touches. There's also some bloody good humour, as we'd expect, and a great character in Hooper. Silent Bob, of course, steals the show.

This is, overall, a far more serious film than its two predecessors. It will break your heart. But it's very, very good indeed.

Inspector Morse: The Last Enemy

 "Dr. Kerridge! We are trying to master the Veleta!"

Nearly a year and a half seem to have gone by since the last time I blogged Inspector Morse. I won't be blogging them that often, but I ought to be getting through the series at a faster pace than that. Ahsoka tomorrow, probably. 

Anyway, good episode as ever, again not from a novel but from an idea by Colin Dexter. This is almost the Platonic ideal of an Inspector Morse episode, I suppose. It's all about arrogant, ambitious Oxford academics sceming against each other while being well-read, rather snobbish and drinking spirits at all times of the day.

Ah, the 1980s. 1989 doesn't feel that long ago- I was twelve- but, as I've remarked before, we have desks without computers, people in the streets wearing suits in away that doesn't happen today, and Morse whingeing about the word processor beginning to challenge the almighty typewriter... while pining for a proper fountain pen with a bottle of ink. Everyone is "Mr", "Mrs" or "Miss", where first names would be used today. It was a long time ago, yet in many respects it wasn't.

There are some splendid turns from the guest cast, and both Kevin Whateley and Amanda Hillwood impress. Yet John Thaw once again excels as the complex man that is Morse, a man who is only slightly older than I am now...

The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

 "Evil! Pure and simple from the Eighth Dimension! Grab them!"

Um, what did I just watch?

This is one of those films I've heard things about over the years but never seen. I knew it was sci-fi, I knew it ewas comedy, but... this is literally the sort of B movie I love to watch, except with a proper Hollywood budget and stars. How on Earth did that happen?

I love how straight the whole thing is played, as this sort of comedy should be. Peter Weller, years before RoboCop, is superb here, almost Leslie Nielsen-esque in playing a square-jawed character who may be a top neurosurgeon, quantum physicist, martial artist and rock musician but has no idea he's in a comedy.

None of this applies to John Lithgow, of course, who quite rightly hams it up with aplomb. This is, it's fair to say, not the sort of part he usually plays.

I love how this leans into the absurdity. The Johns! An otherdimensional Planet 10 where the good Letroids are all somehow Rastas and the bad Lectroids are racist white people! The medically challenged President of the USA! Buckaroo randomly findng love with the long-lost twin sister of his late wife! Yep, this is bonkers. I wish they'd actually made the sequel. I also wish I'd started drinking this wine before I started watching, but never mind.

There is, incidentally, lots of actor-spotting to be had. An unrecognisable Christopher Lloyd. A very young Jonathan Banks, decades before Breaking Bad.

Ahsoka: Part Six- Far, Far Away

 "Something stirs here..."

This episode is, it's fair to say, an exhilarating ride.

I almost admire that, not for the first occasion in a Disney Star Wars show, the titular character is hardly in the episode. Indeed, Ahsoka and Huyang appear only in the opening scene, inside the whale(!) as, yes, Ahsoka reveals to Huyang that Sabine went with the baddies willingly, but all they really do is discuss philosophy and break the fourth wall while foreshadowing the upcoming themes. I love how Huyang's stories are named History of the Galaxy 1, 2 and 3, with 1 being the best, of course.The subtext here is... yeah, not very sub.

However, in a galaxy further, further away, bloody loads happens. The planet is Peridea, where space whales go to die, and it's home to some rather cool space witches, known of the old to the Jedi, who ride space whales... and Morgan is descended from them. Thrawn's grand entrance is teased, of course, until we finally see the battered Star Destroyer, some battered old Stormtroopers, an intriguind figure (a droid?) called Enoch... and Thrawn. Lars Mikkelsen certainly imbues him with presence and charisma.

As promised, Sabine is allowed to seek Ezra, riding a rather cute wolf thing, but she's on a long leash, intended to lead the baddies to Ezra so they can kill them both. The scene of her riding out of the camp feels to me, if I may mix my pop culture references, as though Sabine is leaving Mega City One to take the walk into the Cursed Earth.

But the baddies, being baddies, have multiple agendas of their own. Morgan is quite happy to abandon Baylan and Shin on this extra-galactic world forever. Yet Baylan, in a fasxcinating philosophical conversation with Shin which seems to echo that between Ahsoka and Huyang, has other ideas. He seeks something deeper than power, to restore the Empire which will in turn be defeated by the Jedi only for the Empire to emerge again, and on it goes. The wheel turns. Baylan seems to want to stop the wheel spinning; intriguing.

Sabine, via some adorable creatures camouflaged as rocks, finally finds Ezra... but it is bittersweet. For she knows, and so do we, how disappointed he will soon be when he finds out the circumstances of how Sabine came to find him.

Awesome stuff. Wow.

The Defenders: Mean Right Hook

 "We just go and find another team to join? An army?"

Oh boy. This is quite the episode. Our heroes are all investigating what seems to be a big, multifaceted conspiracy involving the hands from different directions, in what seems to be a well-constructed plot. There's so much going on, but the story is easy to follow, not an easy combination. I'm enjoying this very much.

Sigourney Weaver's dying Alexandra continues to fascinate, and not only because she can order around Madame Gao like an underling. Is she hinting, after her private performance by the New York Philharmonic Orchestra, that she may be considerably older than she looks? Is this why Jessica traces the shell companies back to 1820 and finds it doesn't stop there?

I like the handling of the characters. Jessica is her irrepressible, irreverent self. Luke may be all loved up with Claire, but nothing will stop him doing the right thing. Matt, complete with an intervention by Foggy to give him work to be "another type of hero", is struggling with not being Darevevil: heroism as addiction. Danny is a right mardyarse: I fail to see what Colleen sees in him. Oh, and Misty is awesome.

At the end, excitingly, our protagonists meet. There's a hero vs. hero fight between Luke and Danny, in which we get to see what happens when the unstoppable force that is the Iron Fist meets the immovable object which is Luke. And Jessica's attorney is... Matt.

I can't wait to see what happens next.

Ahsoka: Part Five- Shadow Warrior

 "I'm here to finish your training."

Yeah. It's fair to say a few things happened in this episode. I suspect it's one of those "event" episodes that may not much reward repeat viewings, but it packs quite a punch.

So, Anakin. I'm not sure where that otherworldly plane is supposed to be: clearly, in the "real world", Ahsoka is in the water, and needs to choose to live to be rescued. But the "training" scenes with Anakin, most of them flashbacks to the Clone Wars, are utterly absorbing. I won't pretend to have the answers, but I think we're being shown that Ahsoka is being held back by her worriesabout in some ways becoming what Anakin became. 

Then there's the extraordinary ending, as Ahsoka uses the awesome (and I mean that in the old-fashioned sense) Purrgil to jump across galaxies... hopefully to the right place.

Justas good as any of this is a nice little character moment, though: Huyang tells Hera that she takes these big risks because she cares, which is why people like her. Indeed. She is now going to face the music with the Senate while Ahsoka goes gallivanting about in other galaxies. Ahsoka has big moments, but doesn't forget the small character stuff. This is getting very good indeed.

Robin of Sherwood: The Witch of Elsdon

 "If she wanted to bewitch me, I'd be inclined to let her."

Given the intensity of the first two-parter, it's fascinating to see an "episode of the week". The plot is simple enough, and quite appalling... poor Jennet is accused of witchcraft for not submitting to rape by a Norman piece of ****, has to make impossible compromises because of her husband being in the Sheriff's power and being under threat of death by torture... but she's a good woman.

One small problem: it wasn't until much later in mediaeval England that beliefvin witchcraft was a thing amongst the educated, which in those days meant the Church. Witchcraft was superstition. St Augustine said so. But anyway...

I like the very '80s opening, the dream, very New Age, with Gisburne featuring prominently. It feels at once of its time and very 11th century, that semi-pagan age of Norman apartheid and English distress of a kind we would one day inflict on others. 

It's instructive to see how tax collectors were viewed in the age of feaudalism. No welfare state here, monasteries aside. Just Norman racist greed. The English, subject to such racism, resolved never again to be so, um...

I like the character stuff between Robin and Marian, echoed by Ennet's experiences: Marian is nit a precious jewel. She has agency. She is a person. The Sheriff, meanwhile, expels all Jews from Nottingham as he twirls his moustache.

This is, I suppose, our first "normal" episode. But it succeeds, being both fun and disturbing.

Robin of Sherwood: Robin Hood and the Sorcerer, Part 2

 "If I should fail, one of you shall take my place, and Herne shall choose him."

A confession, dear readers: I watched the wrong bloody episode. I saw the first episode a couple of months ago, ahem, somewhere, but stopped there as the second episode didn't have subtitles. Now Robin of Sherwood is on Britbox, though. I can carry on. Hooray. But I forgot I hadn't seen this second part so yesterday I watched the episode after this. Today I've finally seen this second part and I can blog them both in order. Bloody annoying, though. Grr.

Anyway, there's so much to fascinate here. I'm loving the direction, the lived-in mediaeval look, yet contrasting with a very '80s mystical paganism that goes beyong the Clannad soundtrack. Herne the Hunter is fascinating. The legend isn't as old as you think, with no evidence beyond Shakespeare's Merry Wives of Windsor. But here he champions the English against the Normans, their ancient protector, his muythical arrow kept by Robin's father. Ironically, the Normans mention Gildas. Gildas, of course, was no friend of Angles or Saxons.

The vaguely pagan/devil-worshipping baron is fascinating; it doesn't feel as though this series is going to be heavily fantasy-based, but this is a world where dark magic exists. Yet so does hope, humanity and a genuinely Robin Hood feel, this time including that famous and almost cliched archery contest.

Nazir is interesting, too- a friend? He is, I believe, the accidental beginning of a new tradition of including a Muslim man from the Levant among the Merry Men. The romance between Robin and Marian is already going at full pelt, and the chemistry is great. Interestingly, Michael Praed is far from a conventional hero, but it works.

This is a strong start and, it seems so far, a strong foundation.

Sonic Youth- Sister (1987)

 I was in the mood for some Sonic Youth, so Sister it is. This, oddly enough, is arguably one of their more well-known and liked long players, yet it doesn't boast many, possibly any, well-known singles. It is, of course, excellent.

Perhaps it's the fact that I listened to this album not long after hearing Marquee Moon again, but Sonic Youth are very New York, aren't they? We think of them as '80s-90s American indie rock or alternative and badge them alongside the Butthole Surfers, R.E.M, the Replacements. Yet their sound owes an awful lot to Television, doesn't it? You could even look forward and say that the sound, if not so strongly the songwriting, of the Strokes has that same ineffably New York sound too.

Yet Sonic Youth are more than just that. They are a seminal part of that New York tradition while also feeding into so many other traditions. There's so much going on with Sonic Youth. They have perfect pop sensibilities, yet every album is a soundscape. Hence the fact that I never pay much attention to the lyrics. I'm aware this album is largely about both Philip K. Dick and Thiurston Moore's dead twin sister, but these things don't really register while listening.

Regardless, this is Sonic Youth at their peak and a superb album.

Carry On Cabby (1963)

 "She's taking a man's job."

Some Carry On films I've seen in my slow marathon through the lot of them, in order, have been better than others. But none of them have been actively bad. Until now.

The film is notable, I suppose, for the Carry On debut of Jim Dale in a fairly small but very noticeable role. Kenneth Williams is missed, but this isn't the first time he's been absent. No: what's fundamentally wrong is the script or, more fundamentally, the concept.

Sid James' character Charlie is a workaholic who works such long hours he badly neglects his wife Peg, played with aplomb by Hattie Jacques. So she sets up her own all-female cab firm in competition to teach him a lesson. There's comedy here... but there's also a lot of very real emotion. The tone is all over the place and the very real marital tension at the heart of the film both stops this feeling like a Carry On film. The mood just isn't right, however amusing the set pieces may be.

Also, Charles Hawtrey is shown lusting after women and even says "phwoooar" at one point. Er, this just doesn't work.

Some of the social attitudes shown are... interesting. The sexual politics, obviously. An odd undercurrent of almost prudery from the characters at times. The trade union stuff. The attitudes to sexual harassment. And the concluding scenes where Charlie is shown drunk but then gets into his taxi to save the day. Yeah. It was a different time. 

The film, however, just isn't any good. Unless you're making a point of watching the whole series, as I am, this one is eminently skippable.

Ahsoka: Part Four- Fallen Jedi

 "You know how it is. Once a rebel, aslways a rebel."

SPOILERS. Unless you've seen the episode, read on at your peril. You have been warned.+

Nice title. Has there ever been a pun that works on so many levels? Let us count them. Sod it, let's give this blog post an unorthodox structure, shall we?

1. We begin with Ahsoka and Sabine having literally fallen from the sky, their starshift lost in the woods.

2. Sabine, who has only just become Ahsoka's padawan again, gets a test of her mettle in combat, seems to decide not to try and use the force... but betrays her master to Baylan for the promise of meeting Ezra Bridger again, putting her feelings before the greater good. This is not the Jedi way. She falls at the first hurdle.

3. Ahsoka literally falls off a cliff, to what may or may not be an afterlife- I'm a little confused of the chronology, and I've not seen either Clone Wars or Rebels. Looks like I need to. Anyway, what's he doing there? Hayden Christiansen playing him again, no less.

I've no idea where this is going, but I suspect Sabine is not destined to be a Jedi. I loved Here's rebellion, general or not, with all her mates. And I love that the baddies have actually made the jump into this other galaxy. Big revelations can probably be expected not the series has taken such a massive change of direction.

I'm also loving Rosario Dawson's assured performance, and the superb comic turn from David Tennant as Huyang. What was already a dam good series is now, er, even damn gooder.

The Defenders: The H Word

 "People call me Foggy."

"And you let them?"

It's so good to see so many of these characters for the first time in ages. Danny and Collen I've only just seen, of course, and Darevevil was in She-Hulk, but I've missed the others.

As a first episode, of course, this just establishes where the characters are and develops them a bit. So Luke is freed from prison due to the sterling work of Foggy... and finally gets a room with Claire. About bloody time. Jessica is... drinking lots of bourbon, until she's drawn into a case by sheer stubbornness. Matt lis laying off the old vigilianteeism and realising he's in love with Karen, and the love triangle stuff with Elektra was unwise, despite his real feelings for her. Danny and Collen are back in New York in search of the Hand... the only possible Big Bad.

We meet an intriguing new character played by Sigourney Weaver who is told, in her very first scene, that she hasn't long to live; a fascinating writing choice. And we then find out that Madame Gao, no less, takes orders from her. That's quite a surprise.

For now it's slow, with the heroes not yet meeting. But that's fine; lots of characters to share screen time and be developed. So far I'm very much enjoying this.

Ahsoka: Part Three- Time to Fly

 "We almost died."

"Multiple times."

"Ah yes. Standard operating procedure."

This is a somewhat short episode but, yet again, it's a bloody good one, in terms of both plot and character. It is, though, centred on an utterly superb dogfight set piece that rivals anything in the films for drama. This series has the potential to be every bit as good as The Mandalorian.

There's a lot of fascinating plot development here. Despite what I assume are Mon Mothma's best efforts (she's Chancellor; is she head of state of the New Republic?), Hera meets with politocal scepticism that Thrawn is indeed out there, and is refused resources. Ahsoka and Sabine are on their own. Yet, atthe end, they discover that the baddies have nearly finished constructing a big artifact hanging in space: how very Star Wars. In this case it's a hyperspace ring which, it seems, is capable of travelling to another galaxy, using the intergalactic migration paths of Purrgil, intergalactic space whales. And, if the concept isn't cool enough, they actually bloody appear.

Even better, though, is the focus on training between Ahsoka and Sabine, with an extended scene with one of thosesightless hemets as worn by Luke in Star Wars. I loved everything about this training scene, which reminded me very much of a Shaw Brothers style '70s style kung fu movie from Hong Kong. The dynamic between them is great, as is Huyang's traditionalist pessimism.

I'm loving this. I'll do my best to blog the next episode a bit sooner.

Better Call Saul: Expenses

 "Come on. Ritchie Blackmore, Deep Purple."

"Oh, Another Brick in the Wall."

"I weep for the future."

Oh my. There's so much to break down here. This is, as I'm fond of occasionally stating, an episode of developmemnt and set-up of plotlines and characters. In a sense, not much happens. In another sense, a lot does.

For Jimmy, he's hit with a new, brutal reality. This con man, who sees rules as being for other peoople, has no choice but to follow the rules on community service. There's no refund for his insurance despite his disbarment as a lawyer. His TV commercial business is failing. He's maxing out his credit cards. He stares in the face of ruin. He's cornered, desperate, dangerous... and so deliberately sets out to ruin Chuck. Behind the nice guy act, Jimmy is not nice at all.

Yet poor Kim can't see this, despite everything. She's besotted. Yet her conscience about Chuck, which is really troubling her, contrasts with Jimmy's latest casual betrayal. And it's revealing that their night out is spent looking at potential marls to con. She's horrified when Jimmy seems to be suggesting it for real, but soon falls back under his spell. Oh, Kim...

Then there's Mike, using drug money to work on a church playground, and... am I reading too much into things, but does he meet a potential love interest?

Nacho, too, is a desperate man. To save his father, he must destroy Hector. So he turns to baseball card man, who will never escape from him. Yet Mike, being Mike, takes control of the situation. So many spinning plates, but Mike spins them with aplomb.

No action, then, but first class writing and action. And an awful lot is being set up. Superlative, as ever.

Predators (2010)

 "This planet is a game preserve. And we're the game."

So continues my ploddingly slow viewing of all the Predator and Alien films in release order, and this time... well, obviously this isn't going to be an all-time cinematic classic, but for a sequel of a sequel of a sequel of a sequel, sort of... it's actually not bad. 

It's not very well shot, admittedly. As one might expect from a music video director, it looks like a music video. Soulless CGI, boringly flat cinematography, texture and lighting. But despite this the script is pretty good, with very decent characterisation for this sort of film. The cast is good, too. Not exactly full of A listers but solid character actors. The likes of Walton Goggins and Mahershala Ali always add quality. And Laurence Fishburne's extended cameo is mesmerising.

The plot is simple enough: predators select and transport hand-picked humans to a planet they use as a game reserve to hunt and kill. Yet the characters are a gemuinely interesting bunch with real quirks, from the extremely disturbing Stans, taken from Death Row, to the stoic and dignified Mombasa. There are nice little twists and turns along the way in a film that manages to do more than simply carry out its high concept premise. And, I must not neglect to add, there's plenty of Predator action, although these are the moments where the CGI soullessness is at its most dismal.

What raises this film above its premise, though, is that it is about something bigger than action and IP. Our two main characters, Isabelle and Royce, are themselves hunters, who enjoy the thrill of the kill... and it is this, in the end, that counts. Yet can they use their hunting natures to survive while retaining their humanity? This question is examined quite excessively, a big part of why I was far more impressed with this film than I expected to be. Pretty good, in the end.

The Killing (1956)

 "It isn't fair!"

This early film by Stanley Kubrick has no stars- hardly the last of his films to fit this description- and I took the quote from a parrot. The narrative structure is cleverly non-linear but the use of narration to explain this feels a little awkward in 2023. Yet this is a stone cold classic, a truly great heist film.

Heist movies are more intrinsically philosophical than you might think. A heist consists of an intricate, precise plan where all the many moving parts must work perfectly.  Yet even the best laid plans must take place in our chaotic little universe. Even in successful heists, little things go wrong that create ripples. As hrere, it's after the apparently successful heist that things go horribly pear-shaped for most. I suppose one moral is that crime doesn't pay, but more fundamentally that we do not live in a clockwork universe and there are no happy-ever-after. This film articulates all of that beautifully, the heist as tragedy.

It does this all the more so because of the very real characters, already tragic before anything happens. We know from the beginning that Johnny Clay's promises to his sweetheart are doomed to fail. Only just out ofv a five year stretch, instead of marrying her he will be going back inside. Then there's the horribly real unhappy couple that is Sherry and George- she's far more intelligent, greedy and immoral than the wet drip she married. The two relationships are quite the contrast, but both equally doomed.

Even the little characters are well crafted. I like Nikki's comeuppance for his racism, and that Maurice, the thug whose role is to start a fight, is a chess-playing intellectual.

This film has depth. It has characterisation. It is a masterpiece.