Carry On Nurse (1959)

“The sex-mad fools!"

I never did intend to marathon the Carry On films. But here I am accidentally doing the first two in succession so I suppose I am. Just expect it to go rather slowly.

Just as with Carry On Sergeant, a film with which it shares an awful lot, this isn’t yet quite what we think of the franchise. Yes, there is a little in the way of mild double entendres but sex is actually, while important, still treated in a picture postcard and, well, 1959 way.

And it has to be said that there’s an uncomfortable scene early on where sexual assault is casually treated as comedy. This was a comedy commonplace in 1959 but is not nice to see today and, although I can never know, I like to think I would have said that before #MeToo.

There’s no justification for that sort of thing, then or now, but we can at least describe it as an isolated scene. The rest of the film is not, perhaps, quite as good as it’s predecessir and not, certainly, quite pointing to the greatness ahead, but it’s interesting. Interesting to see Kenneth Williams playing another intellectual and, rather than being at all camp, being given a heterosexual romance. Interesting to see Charles Hawtrey being given a highly visible yet rather minor role. Interesting, still, that Sid James isn’t there at all. Yet a young Joan Sims impresses in her debut, Hattie Jacques is wonderful, and Bill Owen is quite shockingly and unrecognisably young.

Still, this film is entertaining enough but never quite catches fire. Why it was the only film in the series to be successful in America is beyond me.

Monty Python’s The Meaning of Life (1983)

“Let the heathens spill theirs
 On the dusty ground
 God shall make them pay for
 Each sperm that can’t be found.”

There’s a sketch on That Mitchell and Webb Look which shows our two eponymous writer-performers sorting out the order of sketches for their comedy sketch series, which is of course very much in the lineage of Monty Python. The joke is, of course, that they try to arrange the hits and the misses in the correct sequence so there are equal amounts of each, as every sketch show has to be hit and miss; it’s a fully fledged cliche. And one often made of this film.

Thing is, though, this criticism is somewhat dodgy. Of course the Monty Python telly series could be hit and miss; they had to fill thirteen episodes a series at the pace of telly, where union rules meant the studio lights went off at 10pm no matter what. But it’s commonly a criticism not made of The Holy Grail or The Life of Brian, both more narrative and less explicitly a series of sketches. Yet The Meaning of Life gets these criticisms full force.

But this is absolute pants. Yes, this film isn’t quite as good as the other two; I accept that. But how many individual telly episodes have this kind of hit rate? I mean, Every Sperm Is Sacred, sex education, a run of excellent war sketches, the Galaxy Song- this would have been a critical hit if it were the only Python film.

It’s also a lot more explicitly political, a sort of last hurrah for the Beyond the Fringe generation, as it gleefully skewers the church, public school, the armed forces and all sorts of upper middle class pretensions. Even Terry Gilliam’s glorious opening feature with its accountants raiding international finance on the high seas, a live action version of one of his own animations, is aimed squarely at Thatcherism. But more than that, it’s hilarious. And so is the film as a whole. So forget all this hit and miss stuff; this is classic, superb Python for the very last time.

Buffy the Vampire Slayer: Lies My Parents Told Me

"Darling, it's who you'll always be- a limp, sentimental fool."

Yet again, as we often see this season, an episode has a title that is dnably clever, the more so the more you think about it. Parents lying to their offspring, real or symbolic, is at the heart of everything.

Plot-wise, of course, this is the heavily-signposted episode where Robin finally attempts to get revenge on Spike for his mother Nikki’s death, enabled by Giles (whose attitude is again heavily signposted), who betrays Buffy in doing so. In doing so, of course, what Robin achieves is only to finally cure Spike of the First’s trigger.

But beyond these bare facts it’s all about parents lying to their children. In flashbacks from
The 1880s we see young William reading bad poetry to his doting mother, and then again we see him newly camped by good old Drusilla, eagerly giving everlasting undead existence to his beloved mother. But then, bereft of a soul, his now evil mother says deeply wounding things to him, so effective that the First is able to use her lullaby as a trigger even today.

And yet this is, of course, a lie. Those things were not said by his mother but by a demon. That’s fairly obvious. More subtle, as Spike says, is what Nikki says to Robin; like Buffy, she is in the final analysis alonevin the decision she makes and, as per the phrase that both she and Buffy use, “the mission is what matters.” I’m sure she loved her son, but he certainly didn’t come first, and that must hurt.

Finally there’s the symbolic father/daughter relationship between Buffy and Giles, who have been particularly close lately. It’s not the first time he’s betrayed her, of course, but this time he isn’t being forced to do so, which makes it worse. Yes, he has his reasons, but he goes behind Buffy’s back and lies to her. She clearly finds this hard to forgive, as the final symbolic closing of the door shows.

All very impressive, then, even if a lot of regular characters get rather little to do. But it’s worrying that a central relationship between two of the Scoobies is seriously damaged just before what looks like the biggest armageddon yet...

Deadpool 2 (2018)

“It's a little hard to hear you with that pity dick in your mouth."

 I admit it; this sequel isn't quite as good as its predecessor. But who cares, frankly? It's awesome; witty, funny, and full of glorious violence, not least the violence done to the fourth wall. It may, shockingly, be the only film I've seen so far from this year, but I'm sure it would be a strong contender for most enjoyable film of the year in any case.

It's an action film that mocks loads of the tropes, as we'd expect, taking delight in action sequences with fancy action film camerawork and syncing them to unexpected soundtracks, and gloriously undercutting Deadpool's super-team (X-Force- ah, those halcyon Rob Liefeld days) by having almost the entire team die hilariously after a parachute jump, including Shatterstar (ha!) and the briefest ever cameo from Brad Pitt. Once again we have Colossus as the goody two shoes, once again we have (brief cameo aside) a mysterious scarcity of X-Men, and some tough but fair metatextual commentary from Wade Wilson himself ("You're so dark! Are you sure you're not from the DC Universe?"). All this plus Domino, who's rather cool. Josh Brolin may be just a little miscast as Cable, but you can't have everything. The Bond-style titles alone excuse a multitude of sins.

Of course, even better than that is the timey-wimey stuff at the end and what happens about Green Lantern and X-Men Origins: Wolverine. Just bloody watch it. Unless, like me, you haven't seen Logan; spoilers abound.

Onibaba (1964)

"I've never seen anything really beautiful since the day I was born."

Mark Kermode, in his recent BBC4 documentary on cinematic genres, said that this was one of the most terrifying films ever. Having seen it, I quite agree.

Not that you'd think so, in spite of the disturbing camerawork and cinematography throughout, playing on the long grass and that deep, ancient hole; for most of its length, this film is a drama centred around but three characters, seeming almost to be a stage play if not for the cinematography and the deep, disturbing mood of the long, long grass.

The mother and daughter-in-law around whom this film centred are not named, but when their son/husband's mate arrives, back from the war, self-centred and uncaring about the death of his friends, so important to the two ladies. And yet the widowed daughter-in-law soon starts an affair with this unmannered brute, much to the profound horror of her mother in law. Oh, and, incidentally, there's a never-ending civil war (it's the 14th century), and the two ladies are killing wounded samurai and selling their stolen possessions for millet. It's war, brutal war, and morality s long gone in the desperate urge to survive. None of the characters are likeable, but the fact that much of the film has the intimacy of a stage play with its limited cast of (pretty much) three characters, none of whom are likeable but all of whom feel real and are compelling.

It's kept ambiguous whether the mask that forms the horror is supernatural or not, but that's as it should be as unease erupts into terror. This film is superb and truly horrifying.

Angel: Players

"He's just making it up as he goes along!"

To some extent this is a quiet episode with time to breathe and enjoy a mini-break from full-on arc stuff, an episode the like of which we haven't seen much lately. But it's also cleverly titled, with both episodes about people being played.

This is first and foremost a Gunn episode, as Gwen (remember her?) suddenly turns up and asks for his help in a caper that she assures him is all in a good cause. The tricks him, a little, but he still has fun, and Gwen tells him firmly that he's far more than just the muscle, as he's been recently told by a manipulative Angelus and an angry Wesley. Even better, the damsel in distress turns out to be Gwen herself and the MacGuffin that is the subject of their heist turns out to be a devise that can cut off her electric charge, at least for a while, so for the first time in her life she can have physical intimacy. And she wants that to be with Gunn.This must be a rather confidence-boosting night for Gunn, and the fact that he gets no-strings rebound sex with a rather attractive and highly intelligent virgin who has risked her life to sleep with him can't hurt either.

Meanwhile, the gang all learn that Cordy is pregnant, Connor is the father and the pregnancy is abnormally far along, all very suddenly, and are somewhat taken aback. Given this baby's heritage, I'm not surprised. Cue lots of research, including a subtle scene where Fred and Wes discuss relationships, and why he got with Lilah. They are slowly coming to understand each other.

We get lots of disturbing gaslighting scenes between Cordy and Connor, and Cordy wandering around pretending not to be evil. But, as the last scene shows, she's been played, and is caught red handed. It's quite the hook, and quite the episode.

Buffy the Vampire Slayer: Storyteller

"Why can't you just masturbate like the rest of us?"

We’ve just had an episode of Angel all about redemption; now it’s time for Buffy, and Andrew, to do the same. And who better to handle the required mix of comedy and serious themes than Jane Espenson?

It’s always risky to handle a character like Andrew who is, as we are forcefully reminded, a murderer,   and use him as a comic foil. It’s to Buffy’s credit that, looked at overall, they get the balance right. It’s clever to frame the episode around Andrew filming the Scoobies for a supposed documentary, to have all kinds of funny and court-wall breaking fun, but then to undercut that, as the episode does, that Andrew is simply playing the outside observer role to escape from the terrible thing he did when being active. He tells stories to his own advantage, and this is where Buffy forces him to face up to the truth.

The ending is edgy, of course, as Buffy seems about to kill him- again emphasising the hard edge she’s had of late, with the prospect of the biggest armageddon yet. And we end with the unanswered question of “What if the tears didn’t work?”

This is all cleverly mixed in with the urgent need to close that door in the cellar, of course, which is causing unsustainably enormous Hellmouth activity. This loose end is tied up, but Robin’s vengeful hatred for Spike continues. And it appears that Anya and Xander may be reconciling as they have some good sex- is this a one-off, or...?

Jane Espenson seldom disappoints. Is this her last episode? Is this the last light-hearted episode? It’s tome to ask those questions: not too long to go now.

Angel: Orpheus

“You tell me, it’s your flashback!”

Angel has been awesome over the last few episodes, so it’s quite something to say that this episode stands out as being superlative. But it does. The structure seems simple at first and is easy to grasp; Faith is dying from the mystical opiate she ingested to trick and spike Angelus, while Angelus is under a lot of tranquillisers. They share an extended flashback of Angel’s twentieth century while guest star Willow (yay- it’s fantastic to see her interacting with everyone) re-ensouls Angel while evil Cordy tries to stop her.

But of course it’s more than that. It’s about redemption; the big twist is simply that the flashback of Angel’s redemptive life is not for the benefit of Angelus, but entirely for Faith. Dying is easy; redemption is hard. But these sequences work mainly because of the coolness of Faith, and the awesomeness of Eliza Dushku. Angel will miss her, but never mind; she’s off to Sunnyvale soon.

Incidentally, I thought that crossovers has been a big no-no ever since Buffy and Angel have been on different networks. What’s changed here?

There’s a lot else going on, of course. There’s the chat between ex-baddie Willow and Wesley that puts his dark side into perspective. There’s the increasingly and worrying nature of the relationship between the manipulative Evil Cordy and young, naive Connor, which this episode extends to physical abuse and unambiguous gaslighting. The kid may be annoying, but no one deserves that. There’s ‘70s Angel, with the hair.

Then there’s the last scene, with a rather kinky looking Cordy emerging. Is she about to drop that sprog? I for one have no idea what’s about to happen, which is precisely what I love about this season.

Buffy the Vampire Slayer: Get It Done

“Did you know that the ancient Sumerians did not speak English?”

“They’re worse than the French...”

A subtle, interesting and quietly packed episode this time as we start out all light, fluffy and full of Whedonesque with until, suddenly, the mood completely changes with Chloe, a Potential, being found hanged after being talked to death by the first, an event which is profoundly unbearable in all sort of ways.

Even worse is Buffy’s harsh speech about everyone not pulling their weight. Which is somewhat hypocritical (as Xander implies) after her recent antics, and certainly not respectful of the dead, but seems to be the much-needed shock everyone needs, which the absent Giles’ gentler rebuke last episode seemingly wasn’t.

This is the episode where Principal Wood both gets fully introduced to the Scoobies and acquires a first name, Robin. I like him a lot as a character. He has, of course, an ulterior motive in avenging his mother against Spike, but he is genuine and his wit fits right in. It’s also showing Andrew, yet again, as a comic foil.

The main event, though, is the bag bequeathed by Robin from his mother to Buffy, which uses magic puppetry to send her to a magical evocation of the past, although not without some sudden and impressive Sumerian linguistic skills from Dawn. Here she finds the three ancient me. Who created the first Slayer and reveals the whole set-up, and implicitly the whole infrastructure of slayers and watchers, to be deeply patriarchal and to involve the violation of non-consenting young girls, a rather damning indictment which simply has to be followed up. Buffy angrily rejects their help butvis left wondering if she did the right thing, being given a glimpse of the massive army of the First, which looks just like hordes of orcs in Mordor. The stakes could not be higher.

On the plus side, Willow is also tested and manages to use magic to bring Buffy back, even if Kennedy is somewhat shocked at the power she has. But both Willow and Spike are rebuked throughout for holding back and, with the First looming, the overall impression is that “it’s not enough”.

Tron (1982)

"I took a wrong turn somewhere..."

This is a strange film to see for the first time in 2018. It’s groundbreaking. It’s unique. It’s triumphantly of its time. And it’s utter pants.

Oh, it looks great. Unreservedly so; it captures the aesthetics of 1982 vintage computer graphics with perfection but is also, importantly, good to look at and of utility foretelling the story- although characters can be hard to tell apart in cyberspace. Then there’s Jeff Bridges’ rakish charm and David Warner’s desperate baddie.

There’s ever a surprisingly metaphysical side, as the baddies dismiss programs who have faith in “users” as religious fanatics. This line of thought may not be taken very far, but it’s indisputably there. I also don’t mind the total lack of realism in showing 1982 vintage computer programming in this almost proto-cyberspace way. Realism is boring, and this is a fascinating bit of the zeitgeist two years before William Gibson writes Neuromancer.

Unfortunately, though, the script, plot and characterisation are poor, and not even a generally high standard of performance can save them. Yes, the visuals are amazing and the look of the film is justly Famous. But I’m the end what we have is a turd which has been polished to a legendary standard. No wonder the visuals are all that ever gets talked about.

Fantastic Voyage (1966)

"The antibodies will attack as if she were bacteria!"

This is a very silly film, played incredibly straight and, what’s even weirder, what looks and acts like a sci-fi B Movie is helmed by a proper Hollywood director and seemingly lavished with cash..

The performances are a cut above what you can expect from a B movie, with Donald Pleasance standing out as (spoilers) the baddie. We sort of know we’re not supposed to like Dr Michaels when he suggests that the wonders of the human body may have arisen through evolution, as confirmed many times over by empirical observation, as opposed to being a literal “miracle”.

The whole thing is surprisingly focused, with very little framing device; with the minimum of fuss a team is put into a submarine, shrunk and injected into the bloodstream of the ill man who absolutely must be cured because plot reasons. It begins quickly, ends abruptly and consists of various perils from the human body in-betweeen, with the realisation of the bloodstream, the heart and various organs being actually pretty impressive. Meanwhile there’s a bunch of fretting military types watching their progress, in scenes that must surely have inspired Airplane!

It’s all very ‘60s spy film, sent in the present day in a large government facility with massive corridors that looks like a Bond villain hideout, complete with those cool little cars. There’s only one token woman, of course, and she’s an assistant. And, er, Raquel Welch is playing a character called Cora. Yes, Cora.

But what’s extraordinary about this film is, firstly, that it actually looks pretty damn good and gets away visually with the premise, but mainly in the way it carries out the Lost art of doing something very, very silly with absolute seriousness. They don’t make them like this any more...

Angel: Release

"You made me lose my shopkeeper!"

Another gripping and desperate episode here as a badass, damaged Faith and a badass, damaged Wesley team up to hunt Angelus all the way to a vampiric opium den while competing entertainingly to see which of them is the most badass. Unexpectedly it turns out to be Wes who stabs a junkie for information and goes disturbingly intense on Faith. Ouch.

Meanwhile, Cordy is doing silly voices as the baddie whenever she's not manipulating the very teenage Connor with his silly grown-out hair (when I was his age at least I did long hair properly and, indeed, still do) and constantly mentioning that she's pregnant with a baby who seems to be growing at an abnormally fast rate.

Meanwhile Fred tries to get back together with Gunn, they kiss, and... it's still really awkward. That's awful, but what often happens when a couple split up and regret it; it can never be as though the bad stuff never happened.

We get an interesting cliffhanger, as Angelus seems about to bite Faith in the neck and sire her. This seems to cry out for a bit of a cheat resolution, but we'll see. I'm not sure how long this Angelus stuff will last, but I for one am hugely enjoying David Boreanaz's deliciously evil performances.

Shaun of the Dead (2004)

“I’ve got to do a wee first.”

It’s hard to write objectively about a film you’ve seen as many times as I’ve seen this one. I saw it at the pictures back in the day and make no bones about the fact that I love everything about it. It’s funny, it’s brilliant and I’m two years younger than Shaun; this is my generation.

Obviously the whole thing is a tribute to George Romero, with zombies standing for both consumerism and the autopilot nature of the rat race; several times Shaun gets up and gives a zombie-like yawn, and in the background of the early scenes there are many instances of blatant zombie behaviour that look normal in the context of the morning commute. This is at once very funny and making an effective point. This sort of thing punctuates the film.

But of course this is a comedy, and a very good one, the first of Edgar Wright’s trilogy featuring Simon Pegg and Nick Frost and the last one of the three that I’ve blogged. It’s not so long, this being 2004, since Spaced, so it’s good that Jessica Hynes makes an appearance and indeed is the hero of another film- a nice touch; Shaun and co don’t save the world; other people do. They just want safety,  comfort and a pint until this all blows over.

The British TV comedy cast is uniformly brilliant, and both Pegg and Frost are superb. Kate Ashfield deserves praise for her performance as Kate; the straight role is often underappreciated in a comedy. There’s lots of visual comedy for which Wright deserves much credit. And the script is bloody genius- I love the moment when they’re choosing what records to throw at the zombie. And, of course, there’s the heartwarming ending. I’ve seen this film about half a dozen times and, yes, I will see it several times more.

Buffy the Vampire Slayer: First Date

"Like a bidet of evil..."

Jane Espenson writes again as we get a light-hearted episode before things are clearly about to get very desperate as the First has returned from its plot-convenient mid-season hiatus. This is so obvious that Giles spends the entire episode acting as Greek chorus and bollocking everyone about not taking it all seriously enough.

So we have a light-hearted plot in which Xander gets a date with a nice girl who turns out to be nice, sort of, but also homicidally and kinkily demonic. Oh, and Buffy gets asked out on an awkward date with Principal Wood. The script seems to gloss over the power imbalance of dating one’s boss, and Willow even suggests he may be asking her out to offer a promotion without suggesting this may be in any way a bit dodgy but hey, it’s 2003.

Anyway, we slowly find out that he has a load of weapons hidden in his office, he can fight camps, knows Buffy is the Slayer and- the bombshell- is the son of a Slayer himself, orphaned at four and raised by his mum’s Watcher. It’s a compelling backstory, and soon he joins Buffy and (awkwardly) Spike in resolving the Xander plot.

However, we get quite a conclusion in which the First reveals that, as we saw in Fool for Love, his mother was killed by none other than Spike. Ouch.

Elsewhere, we finally get a rather cheaty resolution to that Giles cliffhanger, Andrew gets to prove his loyalty to the Scoobies, there’s some comedy with the Scoobies being vaguely racist to a Potential from China, and Giles is appalled that (surprise) Buffy chose to have Spike’s chip removed. It’s an excellent episode but a foreboding one.

Except... is it me or is Xander’s tirade about only ever dating evil types so Willow should turn him gay a little bit not at all ok? At least Alyson Hannigan has the sense to act appalled. But you certainly wouldn’t get a scene like this in 2018.

Friday the 13th, Part III (1982)

“How come you never scream when we have sex?"

"Give me something to scream about..."

 I've said it before, and I'll say it again because it's still very relevant; watching the Friday the 13th films after the Scream films is probably not for the best. Once you've seen all those slasher tropes deconstructed time and time again it's a little bizarre to see them played with a straight bat, as they are here. As it happens the film is well made (the hilariously unconvincing popping eyeball aside...), and probably the best so far, but still...

We get a bunch of teens headed to a cabin by the lake in the woods. We get a weird old man warning them off. People do genre unwise things like having sex, smoking dope and carrying out practical jokes about being gruesomely murdered. There's no subversion of the cliches at all, just constant leaning into them. But, you know what? It works. Well, mostly.

This is the third film in the series and the first to feature (with no explanation) the hockey mask, which is a good idea and rather effective. As, on the whole, are the set pieces. I like the dart in the eye. The characters are a bit generic and blend into each other, but you expect that. But some of them are likeable and, like poor doomed virgin Shelly, some even have pathos. There's sex in a hammock, and a shower scene which probably counts as misdirection. It's an entertaining 90 minutes that holds the attention. But, well, surely in 1982 this had been done a million times or more? Three films in (after a bit of a hiatus) and I'm still concluding that the films are, yes, perfectly decent, but it's hard to understand what makes them so iconic.

Iron Man (2008)

“I’m just not the hero type. Clearly.”

 Obviously I've seen this film before. It's just that it was before the blog, and I didn't blog the two sequels at the time because I hadn't blogged the originals- incidentally, that's why I haven't yet blogged Captain America: Civil War. But now it's catch up time.

This is, of course, the first Marvel Cinematic Universe film. The fact that it was awesome has a lot to answer for. But awesome it is, largely because it's a solidly executed, scripted and realised action film. But there's more. To begin with, here's a triumphant piece of casting at its centre. This is the film that resurrected the career of ex-junkie Robert Downey Jr, returning him to A list status by giving him the role of Tony Stark, the part he was born to play.

It's also a rare example of a film making the correct choice in doing the origin story- usually a bad move for a superhero film, But Iron Man's origin is not too long-winded, full of action, and easily updated from Vietnam to Afghanistan. But mostly it's about Downey's perfect Tony Stark, the superb rock soundtrack, the solid storytelling. But it's more than that. This is a carefully constructed start to a cinematic universe, with SHIELD subtly introduced with Agent Coulson and, in the first MCU post-credits sequence, Nick Fury. And then there are the little things- Pepper, played by a major star; Happy; "Ten Rings", Jeff Bridges as an authentic Obadiah Stane. This is easily the best Marvel film up to this point- still one of the best- and the harbinger of great things to come.#

All this, and Stan as Hugh Hefner...

Angel: Salvage

"You ok?"

"Five by five..."

Talk about spoilers. When you click on this episode on the Season Four DVD you get a massive great big pic of Faith. Never mind; it’s great to see her.

It’s good to see the episode start by not minimising Lilah’s death;  of only does Stephanie Romanov get a screen credit but there’s an interesting sequence with Wesley prevaricating before he beheads her possibly vamped body. Did she love him, and is he in denial about it? Did he perhaps have hopes of reforming her? These are interesting questions, deepening Wesley’s character further and showing us what an actor Alexis Denisof is.

Anyway, Faith. The attempt to assassinate are her in prison may have more to do with what’s going on in Buffy, but she’s as badass as ever. Importantly, she’s determined to continue serving her sentence and atone for what she’s done, and it’s only when Wesley reveals the full seriousness of the situation- Angelus is loose- that she realises she’s needed and breaks out. Easily.

The first time I saw this I had objections; wasn’t this undermining Faith’s whole redemption arc by saying that she was, after all, above the law because she’s a super being? This time round I don’t see it that way. She’s truly needed. I just hope she returns to prison after all this is over.

It’s great to see her with Wesley, too; through her eyes we can see just how much her ex-Watcher has changed.

Angel may now be on a different network to Buffy these days, so it’s surprising to see some borderline crossover stuff as Angel rings Dawn briefly. But such things are brief as Faith swiftly meets the gang and takes charge, impressing Gunn by putting Connor firmly in his place.

Meanwhile, Cordy is usually “resting” upstairs in the hotel and during those times she’s off being the Beast’s evil “master”. We get to see the two of them together briefly, ending in her commanding the Beast to “give mama some sugar” and sings him. Urgh!

The climax is doubly interesting. The Beast defeats Faith, badly, and it’s Angelus who kills the beast and restores the Sun, not her, and for his own less than noble reasons. And then the big reveal- Cordy is pregnant not only in real life (apparently leading to big rewrites) but with Connor’s child...

Buffy the Vampire Slayer: The Killer in Me

"Who you gonna call... God, that phrase is never gonna be usable again, is it?"

What an unexpected excellent episode. A heartbreaking but also lovely Willow A-plot, a cleverly set up Giles comedy subplot, and also some stuff about Spike's chip. It's cleverly constructed, full of great lines, warm, affecting, funny; all the things we know about Buffy. Yes, last episode was so-so, an inevitability for even the best series when you have a ridiculous 22 episodes per season. This is the opposite, an encapsulation of the things we so love about Buffy.

The silly Giles sub-plot, as ever presenting much-needed levity and balance, is clever, explaining why that cliffhanger several episodes ago was never resolved. It gives the remaining characters something to do by giving them a reason to suspect Giles of being the First. It leads to the classic line “You think I’m evil if I bring a bunch of girls on a camping trip and don’t touch them?” Of course, it also gets those bloody annoying Potentials out of the way.

We also get Spike having potentially fatal issues with his chip, culminating in some people we don’t know from the Initiative giving Buffy a choice between repairing the chip and getting rid of it. We don’t yet find out, but I suspect she’ll choose the latter.

Finally, we get Kennedy’s rather lovely and romantic pursuit of a Willow who, in spite of everything and all her power, is touchingly innocent. This is what starts their relationship going but it’s also clever to have Amy curse her in such a way that, guilt-ridden, her subconscious chooses her own punishment- to turn into Warren. It’s nice that Amy gets a nuanced motive- “She almost destroyed the world and everyone just keeps on loving her?”, but perfect that the whole thing is solved, like the magic fairy tale Kennedy keeps talking about, by love’s true kiss.

Can we have loads more like this, please?

Angel: Calvary

"Those evil geniuses- get you every time."

More Angelus fun this episode, so more menace, more discord, more superb oozing of evil from David Boreanaz, more despair. But we also get a twist- the Beast has a boss. Then, at the end, well... a bigger twist.

It's an awfully well-structured episode in highlight, with some superb scripting- Angelus' subtle racism to Gunn is as bad as anything he does, and the developments between Fred, Gunn and Wes are nuanced. The clash on the stairs between Cordy and Lilah harbingers stuff later on, of course, and Connor is a little snit but a useful one. A script like this needs both well-defined characters and a great cast, and it has both.

Angelus is in control here, pulling the strings, and we find that all reference and, indeed, memory of the Beast has been magically erased by something bigger, the actual Big Bad. And then the final shock; we think Angelus is going to kill Lilah... and Cordy does. What's going on? Is she the Big Bad? Whatever happens this season is on fire, never standing still. I love it.

X-Men: Apocalypse (2016)

“Well, at least we can all agree the third one's always the worst...!

 Yet again an X-Men film that isn't supposed to be all that great turns out to be pretty damn good viewing. Oh, I know that the continuity has been pretty dodgy anyway and at this point they just give up and blatantly contradict stuff about all kinds of characters. It's also awkward having two alternate casts, the less expensive of which we see here. But it's nice to get an X-Men film where Scott gets to be a likeable hero for once. It's also nice tht Wolverine, rather than hogging the limelight as usual, only gets a Weapon X cameo.

Apocalypse is a solid villain, with  suitably epic backstory and oodles of power. The film has metatextual fun with its 1983 setting, hence the line above, ostensibly about Return of the Jedi but, well, you know. It’s also fun utilising the freedom to make characters like Angel (him off EastEnders), Psylocke and even Storm be baddies for a bit. There’s the obligatory “how Charles lost his hair” bit. Of course there is. There are the obligatory philosophical scenes with Charles, Eric and Raven, but not too much. But most of the time it’s what we want to see: cool set pieces. And few are cooler than Quicksilver, even if he is dead in Marvel’s other celluloid universe. This film is quite simply just fun to watch. The timeline  and cobrinuity may be utterly broken but the film makes the right decision to ignore all that and just go with it. Quite right too.

Is it just me, though, or are we all fed up of Colonel William bloody Stryker...?

The Death of Stalin (2017)

"I’m sorry you heard that, but he is a camel cock.”

This is my first opportunity in this blog to praise the great Armando Iannucci. I have, of course, seen all of The Thick of It, Alan Partridge and The Day Today, as well as some more obscure and older stuff. I am, it’s fair to say, quite the fanboy. And this film is in Iannucci‘s usual improvisational style and is rather good. So don’t expect a hatchet job.

It’s all historically accurate barring the odd bit of artistic licence- in reality Beria was executed a full six months after his downfall- and the inspired decision to ban cod Russian accents helps the film enormously. The cast is superb, with Steve Buscemi perfect as Khrushchev and Simon Russell Beale utterly evil as the loathsome Lavrentiy Beria. But it’s Michael Palin’s Molotov who steals the show, in a perfect bit of casting, as the fogeyish but utterly fanatical Vyacheslav Molotov, whose loyalty extends to believing his arrrsted wife must indeed be a traitor.

We begin with clear demonstrations of the evil of the regime, with one of Stalin’s “lists” being enacted as another load of random people are “disappeared” into Beria’s torture chambers, where he enjoys himself far too much for comfort. He’s an utterly repulsive and dangerous human being, yet it’s creepy that his downfall is in the end because of trumped up treason charges, with his very real history of extreme murder, torture and paedophilia a mere afterthought.

What disturbs, yet rings very true, is the sheer laddishness of the committee as a whole. They all plot for power, yes. They’ve all done terrible things for the party. But they’re nevertheless (the humourless Malenkov excepted) a bunch of immature “lads”. And yet there’s a fanatical groupthink here that is a scary ondictment of unchecked power with many lessons for us today. A superb film.