“Are you Ed Sheeran? Is he Ed Sheeran?”
Another script by Chris Chibnall and another episode which is well made, in this case with superb CGI in particular, but is, well, quite good. And no more than that. Steven Moffat was a genius writer but tended to write for fans (broadly defined) rather than a general family audience. Chibnall seems to be the reverse. Again he seems to be making smart decisions as showrunner, again he writes stuff that the general public seems to like, again he comes up with a script which is, well, ok.
Forget Moffat, though; the true comparison is with RTD, in terms of style if not talent. Season 37 echoes Season 27- The first episode introduces the new Doctor, then we have an episode in the future, one in the past, and then this: what we have here is the analogue for Aliens of London. The TARDISeers return to Sheffield, are embroiled in an exciting adventure with giant spiders and corporate greed (very topical, I suppose, and the script blatantly admits that the baddie is essentially Trump) and then decide to continue travelling. Oh, there are slight differences; Yaz’s mum being suspicious of the Doctor calls to mind Martha’s mum in Season 29. And indeed the whole TARDIS crew dynamic calls to mind Season One, but the point is, of course, that this is Doctor Who as a set formula, calculated carefully to use what works. What’s this with no pre-titles, though? That certainly seems to be a thing by now.
“Quite good” is still good, though; the spiders look great, and this Hallowe’en episode is suitably full of jump scares. Jodie Whittaker is still absolutely the Doctor, and I like all of Yaz, Ryan and Graham. The dynamic works well, with an ensemble cast allowing for characterisation to be shared out more. The direction is superb, especially the opening shots. And the ending, where all three of the Doctor’s friends choose to stay, is interesting. The Doctor seems very keen to mak sure they all make an informed decision to stay, and emphasises that she can’t guarantee their safety. Is someone going to die?
The bottom line is, though, that yet again I find an episode just quite good, no more than that. I want Doctor Who to amaze me again. Please?
Sunday, 28 October 2018
The Birds (1963)
"
I have never known birds of different species to flock together. The
very concept is unimaginable. Why, if that happened, we wouldn't stand a
chance. How could we possibly hope to fight them?"
This is probably the last film I'll be blogging before Hallowe'en. I wanted to do a horror film and considered all sorts- there were all sorts of more obvious candidates, but this film seemed irresistible. And it was the right choice.
I'd like to start with how I just don't care that the bird effects are sometimes dated and not quite right; it was 1963,the film is sufficiently well made to render it a minor issue (it's Hitchcock), and it works in context. But this film makes birds terrifying, and makes you fear that they will, indeed, all gang up together, attack you and peck out your eyes. It’s also a fascinating early ‘69s artefact in which everyone is Mr This or Mrs That, men wear hats and indeed suits for dinner at weekends, and there are all sorts of small “c” conservative indicators yet you just know that none of these people are so moronic as to have voted for that orange wanker. Sigh.
It’s a horror film through and through, with birds terrorising a Californian seaside town gradually but totally. Wonderfully, it offers no explanation of why birds have suddenly attacked humans, but it hints at a bleak, perhaps apocalyptic future while leaving the wider world building to our imagination, focusing on Melanie and her obsession with the handsome but rude Mitch and his interestingly characterised family. The main characters are all compelling and, indeed, the early scenes, very Hitchcock-like, appear to be pointing towards a screwball comedy, with the first scene being blatant romantic farce. But Hitchcock tends to play with genre tropes and then change path, which he does here with perfection.
Tippi Hedren is superb, yes, as is the entire cast. But the real star here is Hitchcock as he once again breaks new ground. Suspense, real horror, perfect for this fiendish season.
I'd like to start with how I just don't care that the bird effects are sometimes dated and not quite right; it was 1963,the film is sufficiently well made to render it a minor issue (it's Hitchcock), and it works in context. But this film makes birds terrifying, and makes you fear that they will, indeed, all gang up together, attack you and peck out your eyes. It’s also a fascinating early ‘69s artefact in which everyone is Mr This or Mrs That, men wear hats and indeed suits for dinner at weekends, and there are all sorts of small “c” conservative indicators yet you just know that none of these people are so moronic as to have voted for that orange wanker. Sigh.
It’s a horror film through and through, with birds terrorising a Californian seaside town gradually but totally. Wonderfully, it offers no explanation of why birds have suddenly attacked humans, but it hints at a bleak, perhaps apocalyptic future while leaving the wider world building to our imagination, focusing on Melanie and her obsession with the handsome but rude Mitch and his interestingly characterised family. The main characters are all compelling and, indeed, the early scenes, very Hitchcock-like, appear to be pointing towards a screwball comedy, with the first scene being blatant romantic farce. But Hitchcock tends to play with genre tropes and then change path, which he does here with perfection.
Tippi Hedren is superb, yes, as is the entire cast. But the real star here is Hitchcock as he once again breaks new ground. Suspense, real horror, perfect for this fiendish season.
Thursday, 25 October 2018
Angel: Peace Out
"I know she's a lie!"
And so the whole Jasmine storyline ends, suddenly. It works, it’s a good piece of telly, but you can see the joins as Angel is sidelined off in some CGI dimension where cliffhangers are easily resolved and high priests taunt him about his relationship with his son. Still, this strand successfully builds up what would otherwise be a deus ex machina ending in which Jasmine’s powers are suddenly revoked when Angel suddenly arrives.
As for the other cliffhanger, it feels a bit of a cheat that none of the rest of the gang are killed, instead spending most of the episode in a cell while the drama happens between Jasmine and Connor, who is the episode’s real focus. Still, at least the shared experience has seemingly brought the gang together and papered over some of their differences.
It’s explicitly revealed that Connor has always seen Jasmine’s real face, but doesn’t care. He needs something to believe in and, as he says in his little soliloquy beside a comatose Cordy (has Charisma Carpenter been sacked or something?), it’s nit that he’s naive enough to believe Jasmine but her lies are better than all the other lies.
Interesting, then, that is should be he that kills her, shortly before seemingly sodding off for good, which I suspect many of us wouldn’t mind. Less interesting is the half-hearted debate between Angel and Jasmine about paradise vs. freedom; I trust we all side against tyranny on that one.
So it’s a witty and well-scripted episode, one that actually makes good use of Connor, but one where a good script can’t quite paper over the awkward pacing of the plot, not even with its wit. But we end up with the status quote seemingly restored and our heroes back in the hotel- and up pops the seemingly alive Lilah...
And so the whole Jasmine storyline ends, suddenly. It works, it’s a good piece of telly, but you can see the joins as Angel is sidelined off in some CGI dimension where cliffhangers are easily resolved and high priests taunt him about his relationship with his son. Still, this strand successfully builds up what would otherwise be a deus ex machina ending in which Jasmine’s powers are suddenly revoked when Angel suddenly arrives.
As for the other cliffhanger, it feels a bit of a cheat that none of the rest of the gang are killed, instead spending most of the episode in a cell while the drama happens between Jasmine and Connor, who is the episode’s real focus. Still, at least the shared experience has seemingly brought the gang together and papered over some of their differences.
It’s explicitly revealed that Connor has always seen Jasmine’s real face, but doesn’t care. He needs something to believe in and, as he says in his little soliloquy beside a comatose Cordy (has Charisma Carpenter been sacked or something?), it’s nit that he’s naive enough to believe Jasmine but her lies are better than all the other lies.
Interesting, then, that is should be he that kills her, shortly before seemingly sodding off for good, which I suspect many of us wouldn’t mind. Less interesting is the half-hearted debate between Angel and Jasmine about paradise vs. freedom; I trust we all side against tyranny on that one.
So it’s a witty and well-scripted episode, one that actually makes good use of Connor, but one where a good script can’t quite paper over the awkward pacing of the plot, not even with its wit. But we end up with the status quote seemingly restored and our heroes back in the hotel- and up pops the seemingly alive Lilah...
Tuesday, 23 October 2018
Buffy the Vampire Slayer: End of Days
"Oh! Jaffa Cakes!"
This is the penultimate episode of Buffy. Ever. So it’s back to good old feminist basics.
All the agency here is female. Yes, Buffy is back, and implicitly the leader again with the agreement of all including Faith, but this time she’s armed with a kick ass MacGuffin and with a largely female gang against a massive evil whose main fighter is a deeply misogynistic man. Her male allies tacitly accept that it’s not about them- Xander leaves town with Dawn to protect her; Giles accepts that research would be better conducted by Willow’s feminine magic, and Andrew is, well, Andrew. Even Angel, turning up at the end, accepts that the fight against Caleb must be Buffy’s alone. Everywhere, female agency abounds.
Which is not to say that all goes well; more redshirt Potentials die. Or that men don’t matter; Spike declares his love for Buffy once more in a meaningful scene. Yet this is a love scene in which traditional gender roles are reversed, with Spike as the supplicant wanting to tie down the hero. But this episodeis one last focus on what the show is about before the last episode where Stuff Happens. Buffy even talks to a mysterious ancient woman who represents the feminine power behind those ancient men who created the acids Slayer and became the Watchers, implying through riddle-like speech that Buffy can only beat the First by doing things differently, perhaps smashing the a Patriarchy a little more.
Other stuff happens, of course. Kennedy looks fated to be an awesome warrior. Anya’s bedside manner is a wonder to behold. Andrew thinks he’ll die in the final battle and seems to have made his peace with that. But we’re all set for that last finale, in terms both of plot and theme. Let’s go...
This is the penultimate episode of Buffy. Ever. So it’s back to good old feminist basics.
All the agency here is female. Yes, Buffy is back, and implicitly the leader again with the agreement of all including Faith, but this time she’s armed with a kick ass MacGuffin and with a largely female gang against a massive evil whose main fighter is a deeply misogynistic man. Her male allies tacitly accept that it’s not about them- Xander leaves town with Dawn to protect her; Giles accepts that research would be better conducted by Willow’s feminine magic, and Andrew is, well, Andrew. Even Angel, turning up at the end, accepts that the fight against Caleb must be Buffy’s alone. Everywhere, female agency abounds.
Which is not to say that all goes well; more redshirt Potentials die. Or that men don’t matter; Spike declares his love for Buffy once more in a meaningful scene. Yet this is a love scene in which traditional gender roles are reversed, with Spike as the supplicant wanting to tie down the hero. But this episodeis one last focus on what the show is about before the last episode where Stuff Happens. Buffy even talks to a mysterious ancient woman who represents the feminine power behind those ancient men who created the acids Slayer and became the Watchers, implying through riddle-like speech that Buffy can only beat the First by doing things differently, perhaps smashing the a Patriarchy a little more.
Other stuff happens, of course. Kennedy looks fated to be an awesome warrior. Anya’s bedside manner is a wonder to behold. Andrew thinks he’ll die in the final battle and seems to have made his peace with that. But we’re all set for that last finale, in terms both of plot and theme. Let’s go...
Sunday, 21 October 2018
Doctor Who: Rosa
"You ain't Banksy."
"Or am I?"
Ok, that quite impressed me. It's not the greatest episode ever but it's solid, it works both mechanically and emotionally, and it manages to avoid being overly didactic and preachy as, for me, Vincent and the Doctor was, despite that music. (Well, aside from that song at the end, but we'll come to that). It may not be a particularly deep look at racism, and it may choose a somewhat blatant type of prejudice rather than something more challenging, but it's written by Malorie Blackman who is, I believe, a writer of novels for teenagers, perhaps with that audience in mind. To be fair, though, on that level, it works. It's time to recognise that, while Chibnall may not be on the same level s a writer as RTD or the Moff, his vision of the show- less clever, more kid-friendly- may be closer to what it needs rather than appealing to people like me who will, let's face it, always watch Doctor Who. Besides, I still enjoyed it.
It's impressive how this return to having four TARDISeers, evoking early Hartnell, helps the storytelling and works well with fifty minute contained episodes. It's also nice to see the characters interact- Ryan and Yas discussing racism, Graham and Ryan bonding a little but not quite there, Jodie Whittaker being absolutely the Doctor. It's also interesting, for the first time since The Time Meddler, to see a story entirely about a cat and mouse game changing the little things that can alter history. There's no physical threat here, just a threat to the timeline, but it's chilling that the time travelling antagonist is a racist from future where racism still exists. After all, here we are, sixty-three years after Rosa Parks refused to get off that bus, and racism is still there, Trump is president, and today's news is full of voter suppression in today's Georgia. Did Jim Crow ever really go away?
Still, we get a nice balance between showing racism in action in the Jim Crow Deep South and having the Doctor and gang put it into context with dialogue which nevertheless feels natural. It’s nicecto seecthevDoctor and Graham forced to be complicit at the end. And we get a celebrity historical cameo from Martin Luther King. And I'll admit I didn't recognise Vinette Robinson from Sherlock until Mrs Llamastrangler pointed her out.
It's interesting, on a more banal note, so see again that, while continuity is much more subtle under Chibnall and much friendlier to the casual viewer, he still cares about consistency; here we have mentions of Artron Energy, Stormcage (but not River Song) and a Vortex Manipulator. But ultimately this is a good episode but perhaps not a memorable one. And, while I'm no purist and don't object to a song being played over the closing titles, does it have to be such sub-X-Factor chart fodder?
Sigh. I liked it. I really did. It's just that I've become accustomed over the last several years to using a stronger word than "liked".
"Or am I?"
Ok, that quite impressed me. It's not the greatest episode ever but it's solid, it works both mechanically and emotionally, and it manages to avoid being overly didactic and preachy as, for me, Vincent and the Doctor was, despite that music. (Well, aside from that song at the end, but we'll come to that). It may not be a particularly deep look at racism, and it may choose a somewhat blatant type of prejudice rather than something more challenging, but it's written by Malorie Blackman who is, I believe, a writer of novels for teenagers, perhaps with that audience in mind. To be fair, though, on that level, it works. It's time to recognise that, while Chibnall may not be on the same level s a writer as RTD or the Moff, his vision of the show- less clever, more kid-friendly- may be closer to what it needs rather than appealing to people like me who will, let's face it, always watch Doctor Who. Besides, I still enjoyed it.
It's impressive how this return to having four TARDISeers, evoking early Hartnell, helps the storytelling and works well with fifty minute contained episodes. It's also nice to see the characters interact- Ryan and Yas discussing racism, Graham and Ryan bonding a little but not quite there, Jodie Whittaker being absolutely the Doctor. It's also interesting, for the first time since The Time Meddler, to see a story entirely about a cat and mouse game changing the little things that can alter history. There's no physical threat here, just a threat to the timeline, but it's chilling that the time travelling antagonist is a racist from future where racism still exists. After all, here we are, sixty-three years after Rosa Parks refused to get off that bus, and racism is still there, Trump is president, and today's news is full of voter suppression in today's Georgia. Did Jim Crow ever really go away?
Still, we get a nice balance between showing racism in action in the Jim Crow Deep South and having the Doctor and gang put it into context with dialogue which nevertheless feels natural. It’s nicecto seecthevDoctor and Graham forced to be complicit at the end. And we get a celebrity historical cameo from Martin Luther King. And I'll admit I didn't recognise Vinette Robinson from Sherlock until Mrs Llamastrangler pointed her out.
It's interesting, on a more banal note, so see again that, while continuity is much more subtle under Chibnall and much friendlier to the casual viewer, he still cares about consistency; here we have mentions of Artron Energy, Stormcage (but not River Song) and a Vortex Manipulator. But ultimately this is a good episode but perhaps not a memorable one. And, while I'm no purist and don't object to a song being played over the closing titles, does it have to be such sub-X-Factor chart fodder?
Sigh. I liked it. I really did. It's just that I've become accustomed over the last several years to using a stronger word than "liked".
Evil Dead 2 (1987)
"You bastards! You dirty bastards!"
Well then. This is quite the most splendidly disgusting film I've ever seen, knocking its predecessor into a cocked hat. Outrageously cheeky, too: it blatantly retcons the events of the first film within the first few minutes, making it very clear that Ash is the hero here. And Bruce Campbell is magnificent: simultaneously camp and macho, the Adam West of the slasher film.
Let’s be honest; this film doesn’t have so much a plot as a series of set pieces, but who cares when you’re having this much fun? I laughed out loud several times. I jumped several times. I loved the it with the late Lisa’s head and sharp teeth in Ash’s crotch- ouch. I loved the entire sequence with Ash’s hand turning evil. I loved all the blood, the cheerful bad taste, the Grand Guignol silliness. And best of all this is 1987, and CGI doesn’t really exist yet. It’s all done by stop motion, and if the monsters look like Muppets, frankly who cares? Any film in which a severed eye can fly across the room and end up in someone’s mouth is fine by me. Never before has a horror film been quite so much unadulterated fun.
And then there’s the delightfully random and sequel-hunting mediaeval ending, just when you things can’t get any more fun. Ok, this may not be the best film I’ve seen this year. But it’s easiky the most fun.
Let’s be honest; this film doesn’t have so much a plot as a series of set pieces, but who cares when you’re having this much fun? I laughed out loud several times. I jumped several times. I loved the it with the late Lisa’s head and sharp teeth in Ash’s crotch- ouch. I loved the entire sequence with Ash’s hand turning evil. I loved all the blood, the cheerful bad taste, the Grand Guignol silliness. And best of all this is 1987, and CGI doesn’t really exist yet. It’s all done by stop motion, and if the monsters look like Muppets, frankly who cares? Any film in which a severed eye can fly across the room and end up in someone’s mouth is fine by me. Never before has a horror film been quite so much unadulterated fun.
And then there’s the delightfully random and sequel-hunting mediaeval ending, just when you things can’t get any more fun. Ok, this may not be the best film I’ve seen this year. But it’s easiky the most fun.
Saturday, 20 October 2018
Iron Man 2 (2010)
"If there's one thing I've proven, it's that you can count on me to pleasure myself."
I loved the first film. I love this one too. Not as much as the first film, but a lot.
Yes, the plot may meander a bit, and contain a predictable bit where the hero hits rock bottom, but it works. Robert Downey Jr is still born to play Tony Stark. Gwyneth Paltrow is a fine Pepper, yet again, and still has great charisma with Downey. And Don Cheadle is much better as Rhodey. We also get loads and loads and loads of Tony being charismatic and Iron Man action sequences. That gets us halfway there already. And then there’s the Elon Musk cameo...
The conceit works- Tony is dying from the very thing that keeps him alive, and so needs to develop things from his father’s past while Justin Hammer acts as antagonist and this time the baddie is a rather different variation on Whiplash. Plus we get a splendid big set piece at the Monaco Grand Prix, and a lot of world building; there’s a lot about Nick Fury’s Avengers Initiative, we meet Black Widow and discover a familiar-looking old shield. And the post-credits points it all toward to Thor. It’s positively nostalgic seeing all these early MCU films. But the film works on its own terms, carried along by strong characters and a superb cast even if the plot, while perfectly decent, doesn’t quite have the narrative flow if the first film. Three films in and the MCU is going strong.
Yes, the plot may meander a bit, and contain a predictable bit where the hero hits rock bottom, but it works. Robert Downey Jr is still born to play Tony Stark. Gwyneth Paltrow is a fine Pepper, yet again, and still has great charisma with Downey. And Don Cheadle is much better as Rhodey. We also get loads and loads and loads of Tony being charismatic and Iron Man action sequences. That gets us halfway there already. And then there’s the Elon Musk cameo...
The conceit works- Tony is dying from the very thing that keeps him alive, and so needs to develop things from his father’s past while Justin Hammer acts as antagonist and this time the baddie is a rather different variation on Whiplash. Plus we get a splendid big set piece at the Monaco Grand Prix, and a lot of world building; there’s a lot about Nick Fury’s Avengers Initiative, we meet Black Widow and discover a familiar-looking old shield. And the post-credits points it all toward to Thor. It’s positively nostalgic seeing all these early MCU films. But the film works on its own terms, carried along by strong characters and a superb cast even if the plot, while perfectly decent, doesn’t quite have the narrative flow if the first film. Three films in and the MCU is going strong.
Thursday, 18 October 2018
Angel: Sacrifice
"Anyone else feel like the last feisty wife in Stepford?"
Last episode showed us life under Jasmine. This episode develops it a bit- Jasmine has now got the Governor to surrender all of California to her, and indeed the Archbishop of Los Angeles to devote his cathedral to worship of her. But essentially this episode, now that the status quo of Jasmine, is about progressing the plot as Angel and the gang escape, regroup, and start to figure out how they can end all this.
Except Connor. He's had Cordy's blood, he can see what Jasmine really is, presumably with maggots and all. But he doesn't care; for once he can belong to something, And, my God, the boy is so unbelievably annoying at this point, not questioning Jasmine even when she moves Cordy somewhere else. Incidentally, once again Charisma Carpenter is called upon to do no more than act unconscious.
We begin with the gang heroically escaping to, er, the sewers, where they get to hide from Jasmine for a bit. And, perhaps, conveniently, Wes thereby discovers an insect-like demon thing that provides a clue, insisting that "we loved her first" and letting slip that Jasmine's weakness is her true name. If you think about it too hard this is somewhat too convenient, but it's handled with just enough sleight of hand.
So, when the National Guard inevitably comes for them- led by Connor with, creepily, Jasmine's voice- its time for a double cliffhanger as Angel jumps through a portal to the dimension of the incredibly powerful and fanatical mantis things, while the rest of them face a fight against hopeless odds. Ah, Angel. You do like to be so gloriously random come the end of the season, don't you?
Last episode showed us life under Jasmine. This episode develops it a bit- Jasmine has now got the Governor to surrender all of California to her, and indeed the Archbishop of Los Angeles to devote his cathedral to worship of her. But essentially this episode, now that the status quo of Jasmine, is about progressing the plot as Angel and the gang escape, regroup, and start to figure out how they can end all this.
Except Connor. He's had Cordy's blood, he can see what Jasmine really is, presumably with maggots and all. But he doesn't care; for once he can belong to something, And, my God, the boy is so unbelievably annoying at this point, not questioning Jasmine even when she moves Cordy somewhere else. Incidentally, once again Charisma Carpenter is called upon to do no more than act unconscious.
We begin with the gang heroically escaping to, er, the sewers, where they get to hide from Jasmine for a bit. And, perhaps, conveniently, Wes thereby discovers an insect-like demon thing that provides a clue, insisting that "we loved her first" and letting slip that Jasmine's weakness is her true name. If you think about it too hard this is somewhat too convenient, but it's handled with just enough sleight of hand.
So, when the National Guard inevitably comes for them- led by Connor with, creepily, Jasmine's voice- its time for a double cliffhanger as Angel jumps through a portal to the dimension of the incredibly powerful and fanatical mantis things, while the rest of them face a fight against hopeless odds. Ah, Angel. You do like to be so gloriously random come the end of the season, don't you?
Tuesday, 16 October 2018
Buffy the Vampire Slayer: Touched
"Your performance as a disgruntled minion was spot on"
"I'm method."
It’s an interesting way to do the episode just before the two part final battle, just after the episode in which our titular heroine has hit rock bottom, rejected by all her friends. In a way it’s catharis for last episode; in a way it’s also a way to get everyone to have sex before a big battle before some of them, and not all of them redshirt Potentials, will die. Perhaps it’s convenient that the First and Caleb are busy in their cave this episode, but it’s important that we slow down and do all this character stuff.
It’s uncomfortable without Buffy and Faith- crude, uneducated, is unsteady as leader. That much is clear. Her plan to kidnap a Bringer and make it talk is good, and Dawn’s linguistic skills in magic lore (Ottoman Turkish this week) are impressive, but they don’t discover anything not already found out by Spike, Andrew and Buffy.
As for Spike, he’s not happy with what he finds on his returns and has some harsh and truthful words for Willow’s blatantly practised speech (“You sad, sad, ungrateful traitors”), some fists for Faith, and some harsh words for them all. And when he finds Buffy he finds her so very down- Sarah Michelle Gellar does a scarily realistic performance as a depressed person.
But this is an episode about healing, so out he comes with the uplifting, cathartic pep talk, reminding Buffy who she is. And this leads to a cuddle, and then some healing sex.
Cue more healing sex back at the house, before the big battle. Faith and Robin- I called it- Willow and Kennedy, even Anya and Xander. It’s lovely, but by the laws of drama it must also be ominous.
So Buffy and Faith & co make simultaneous assaults on the vineyard, where a reenergised Buffy runs rings around Caleb by dancing like a butterfly. She discovers what looks like a useful MacGuffin. Unfortunately Faith finds a time bomb...
It’s starting.
"I'm method."
It’s an interesting way to do the episode just before the two part final battle, just after the episode in which our titular heroine has hit rock bottom, rejected by all her friends. In a way it’s catharis for last episode; in a way it’s also a way to get everyone to have sex before a big battle before some of them, and not all of them redshirt Potentials, will die. Perhaps it’s convenient that the First and Caleb are busy in their cave this episode, but it’s important that we slow down and do all this character stuff.
It’s uncomfortable without Buffy and Faith- crude, uneducated, is unsteady as leader. That much is clear. Her plan to kidnap a Bringer and make it talk is good, and Dawn’s linguistic skills in magic lore (Ottoman Turkish this week) are impressive, but they don’t discover anything not already found out by Spike, Andrew and Buffy.
As for Spike, he’s not happy with what he finds on his returns and has some harsh and truthful words for Willow’s blatantly practised speech (“You sad, sad, ungrateful traitors”), some fists for Faith, and some harsh words for them all. And when he finds Buffy he finds her so very down- Sarah Michelle Gellar does a scarily realistic performance as a depressed person.
But this is an episode about healing, so out he comes with the uplifting, cathartic pep talk, reminding Buffy who she is. And this leads to a cuddle, and then some healing sex.
Cue more healing sex back at the house, before the big battle. Faith and Robin- I called it- Willow and Kennedy, even Anya and Xander. It’s lovely, but by the laws of drama it must also be ominous.
So Buffy and Faith & co make simultaneous assaults on the vineyard, where a reenergised Buffy runs rings around Caleb by dancing like a butterfly. She discovers what looks like a useful MacGuffin. Unfortunately Faith finds a time bomb...
It’s starting.
Sunday, 14 October 2018
Doctor Who: The Ghost Monument
"I can't remember who I borrowed them off now. It was either Audrey Hepburn or Pythagoras."
Ok, so they can't all be that good; it's Chris Chibnall after all. His first alien story as showrunner and we get a decent but fairly pedestrian tale about a rally between planets and the planet of the booby traps. Which is not to slag the story off; I liked it. I just wouldn't use a stronger word than "liked".
Still, aside from the story of the week, and those niggling worries about his talents for adventure storytelling and science fantasy concepts, that doesn't necessary make him a bad showrunner. Again he's showing signs of being good at developing characters, which could bode well- and yes, I will see Broadchurch soon.
Our TARDIS crew (well, not yet...) of four is looking curiously similar to Ian, Barbara and Susan in that we have a sort-of "grandfather"; I already like the sort-of-familial relationship between Graham and Ryan, and this is going to grow. Yasmin is perhaps not so well fleshed out at this stage (will she and Ryan have a will-they-won't-they like Ian and Barbara?) But there's plenty of time. And still, of course, Jodie Whittaker is the Doctor; as Mrs Llamastrangler pointed out, it's satisfying to her her saying "run".
Again her gender matters not. Well, except for a good old cheap laugh, that is: "Come to Daddy- I mean, Mummy". But she is completely and utterly Doctorish throughout, in circumstances that display that Doctorishness magnificently. But... Chibnall seems to have yet another bit of backstory for her, as one of the Shrouds of Doom refer to her as "the timeless child" and "an outcast", something which clearly strikes a nerve and which clearly is intended to be picked up on. This is clearly another arc about the Doctor's past; I hope it fits with all the others.
It's nice to see that this "jumping on point", while being carefully continuity-lite, isn't averse to the odd nod to the past such as the mention of Venusian Aikido (from Venusian nuns, apparently). And it appears that last week's baddies- the Stenza- may end up as this season's Big Bad. But all that pales next to the fact that the TARDIS is finally back, redecorated inside and out, after a nice little character moment where the Doctor is close to giving up hope but her three friends aren't. The new interior is awesome- I love the Heath Robinson style of ho it works, the lighting, and the biscuit. Will the Doctor take them straight home? Just as with Ian and Barbara, we know she won't.
And the new theme is also awesome, and the opening title sequence is rather Pertwee, I feel, as opposed to the closing sequence being very Tom. In fact, a lot about Doctor Who is awesome now; it looks so much more cinematic. I don't think the budget has gone up, but it gives the illusion of having done so. And if the scripts are merely good, so far that's ok.
Ok, so they can't all be that good; it's Chris Chibnall after all. His first alien story as showrunner and we get a decent but fairly pedestrian tale about a rally between planets and the planet of the booby traps. Which is not to slag the story off; I liked it. I just wouldn't use a stronger word than "liked".
Still, aside from the story of the week, and those niggling worries about his talents for adventure storytelling and science fantasy concepts, that doesn't necessary make him a bad showrunner. Again he's showing signs of being good at developing characters, which could bode well- and yes, I will see Broadchurch soon.
Our TARDIS crew (well, not yet...) of four is looking curiously similar to Ian, Barbara and Susan in that we have a sort-of "grandfather"; I already like the sort-of-familial relationship between Graham and Ryan, and this is going to grow. Yasmin is perhaps not so well fleshed out at this stage (will she and Ryan have a will-they-won't-they like Ian and Barbara?) But there's plenty of time. And still, of course, Jodie Whittaker is the Doctor; as Mrs Llamastrangler pointed out, it's satisfying to her her saying "run".
Again her gender matters not. Well, except for a good old cheap laugh, that is: "Come to Daddy- I mean, Mummy". But she is completely and utterly Doctorish throughout, in circumstances that display that Doctorishness magnificently. But... Chibnall seems to have yet another bit of backstory for her, as one of the Shrouds of Doom refer to her as "the timeless child" and "an outcast", something which clearly strikes a nerve and which clearly is intended to be picked up on. This is clearly another arc about the Doctor's past; I hope it fits with all the others.
It's nice to see that this "jumping on point", while being carefully continuity-lite, isn't averse to the odd nod to the past such as the mention of Venusian Aikido (from Venusian nuns, apparently). And it appears that last week's baddies- the Stenza- may end up as this season's Big Bad. But all that pales next to the fact that the TARDIS is finally back, redecorated inside and out, after a nice little character moment where the Doctor is close to giving up hope but her three friends aren't. The new interior is awesome- I love the Heath Robinson style of ho it works, the lighting, and the biscuit. Will the Doctor take them straight home? Just as with Ian and Barbara, we know she won't.
And the new theme is also awesome, and the opening title sequence is rather Pertwee, I feel, as opposed to the closing sequence being very Tom. In fact, a lot about Doctor Who is awesome now; it looks so much more cinematic. I don't think the budget has gone up, but it gives the illusion of having done so. And if the scripts are merely good, so far that's ok.
RoboCop 2 (1990)
"What about democracy? Nobody elected you."
"Anyone can buy OCP's stock and own a piece of our city. What could be more democratic than that?"
It's been six long years since I blogged the excellent first film; a superbly written and shot dystopia about privatisation and corporate greed that was very Paul Verhoeven. It was hard to imagine how a sequel would not disappoint. Yet this doesn’t. It’s a superb film and a fine sequel.
But perhaps we should expect no less from Irving Kershner, he of The Empire Strikes Back: he has, after all, directed the greatest sequel of all time. Here he doesn’t quite reach the same heights but he does something similar- following an iconic director in a self-effacing yet worthy way. Kershner isn’t a director with a distinct style of his own, but as a craftsman of cinema he’s superb.
Hence we get a film that’s very faithful to its predecessor’s style, with the satirical commercials not looming quite so large but certainly present and correct, and with many familiar faces returning to the same Detroit which faces the same dystopian problems, courtesy of a superb script from an at-his-peak Frank Miller, writing for cinema at a time when comics scribes were not so well-respected as they are now.
And, of course, again we have a hard-boiled Hollywood film where, unusually, the message is clearly a left-wing one. We begin with OCP, owners of the privatised police force, cutting their wages by 40% and cancelling their pensions, leading to inevitable strikes. There’s an uber-addictive drug called Nuke, there’s a kingpin called Cain and a child gangster called Hob, but the real villain is the anorak and grasping OCP, who deliberately engineer for the city to become hopelessly in debt to it so they can privatise the whole thing. And, much as RoboCop may defeat Cain, who has been turned into the body horrific and fourth wall breaking “RoboCop 2”, The film ends with OCP seeming to succeed in this, and getting away with this through a little scapegoating.
There’s lots of touching character stuff, too- the bit where Murphy pretends not to recognise his wife to protect her is heart-wrenching- but it’s all done perfectly in the same slightly cyberpunk corporate dystopia of the first film. This is how to do a sequel. So can we have another one please?
"Anyone can buy OCP's stock and own a piece of our city. What could be more democratic than that?"
But perhaps we should expect no less from Irving Kershner, he of The Empire Strikes Back: he has, after all, directed the greatest sequel of all time. Here he doesn’t quite reach the same heights but he does something similar- following an iconic director in a self-effacing yet worthy way. Kershner isn’t a director with a distinct style of his own, but as a craftsman of cinema he’s superb.
Hence we get a film that’s very faithful to its predecessor’s style, with the satirical commercials not looming quite so large but certainly present and correct, and with many familiar faces returning to the same Detroit which faces the same dystopian problems, courtesy of a superb script from an at-his-peak Frank Miller, writing for cinema at a time when comics scribes were not so well-respected as they are now.
And, of course, again we have a hard-boiled Hollywood film where, unusually, the message is clearly a left-wing one. We begin with OCP, owners of the privatised police force, cutting their wages by 40% and cancelling their pensions, leading to inevitable strikes. There’s an uber-addictive drug called Nuke, there’s a kingpin called Cain and a child gangster called Hob, but the real villain is the anorak and grasping OCP, who deliberately engineer for the city to become hopelessly in debt to it so they can privatise the whole thing. And, much as RoboCop may defeat Cain, who has been turned into the body horrific and fourth wall breaking “RoboCop 2”, The film ends with OCP seeming to succeed in this, and getting away with this through a little scapegoating.
There’s lots of touching character stuff, too- the bit where Murphy pretends not to recognise his wife to protect her is heart-wrenching- but it’s all done perfectly in the same slightly cyberpunk corporate dystopia of the first film. This is how to do a sequel. So can we have another one please?
Saturday, 13 October 2018
Green Lantern (2011)
"You haven't just been replaced by an alien or something?"
It's so frustrating. This film has stuff going for it. It could easily have not been rubbish with a few tweaks. But sadly that was not to be, and rubbish it is.
There’s so much potential here. Ryan Reynolds is genuinely great as Hal Jordan. The Guardians and hordes of alien Green Lanterns look awesome, particularly Mark Strong as Sinestro and a great cameo from Michael Clarke Duncan as Kilowog. All of that side of things is great; the whole thing looks fantastic, the fans get what they want. But no amount of polishing can disguise the fact that the script is a turd.
It tries to be epic, it really does. But it starts with a load of CGI aliens we don’t care about, for ages, and then moves to an extended F-35 dogfight. All visual spectacle, no heart, no real humour, no character, until the film is quite a long way in. And, while Ryan Reynolds is great at giving us a well-rounded Hal whom we can like, the film never really recovers from that. We aren’t given time to know and care about any of the characters until the plot starts in earnest. And there’s an awkward moment where Hal “wins” his dogfight by going to high altitude and the same stunt saves him at the end, which looks awkwardly derivative of Iron Man. And then there’s the onviousness of the plot- you know, man-child with aimless life and problems with responsibility is given great power and responsibility that he supposedly deserves; seems undeserving and gives up; is persuaded by a beautiful woman to try again and saves the world. This sort of formula isn’t unusual in Hollywood, but it’s seldom so blatant.
And it’s a real shame; the film is well shot and well made. But, well, it’s the script, stupid.
There’s so much potential here. Ryan Reynolds is genuinely great as Hal Jordan. The Guardians and hordes of alien Green Lanterns look awesome, particularly Mark Strong as Sinestro and a great cameo from Michael Clarke Duncan as Kilowog. All of that side of things is great; the whole thing looks fantastic, the fans get what they want. But no amount of polishing can disguise the fact that the script is a turd.
It tries to be epic, it really does. But it starts with a load of CGI aliens we don’t care about, for ages, and then moves to an extended F-35 dogfight. All visual spectacle, no heart, no real humour, no character, until the film is quite a long way in. And, while Ryan Reynolds is great at giving us a well-rounded Hal whom we can like, the film never really recovers from that. We aren’t given time to know and care about any of the characters until the plot starts in earnest. And there’s an awkward moment where Hal “wins” his dogfight by going to high altitude and the same stunt saves him at the end, which looks awkwardly derivative of Iron Man. And then there’s the onviousness of the plot- you know, man-child with aimless life and problems with responsibility is given great power and responsibility that he supposedly deserves; seems undeserving and gives up; is persuaded by a beautiful woman to try again and saves the world. This sort of formula isn’t unusual in Hollywood, but it’s seldom so blatant.
And it’s a real shame; the film is well shot and well made. But, well, it’s the script, stupid.
Friday, 12 October 2018
Angel: The Magic Bullet
"I've been so alone, so scared. I'm not like you. I'm not a champion."
The first few minutes of this episode are deeply effective; an old fashioned, happy LA with a prominent ‘50s car and a Beach Boys soundtrack. It all looks idyllic- until we see that Fred is being chased and is lucky to escape. Winifred Burkle, alone, against not only her friend but a city that is slowly becoming a hive mind, where everyone is the eyes and ears for Jasmine. Things seem hopeless, but despite the quote above Fred is a hero.
This is the episode that shows what a completely Jasmine-controlled LA is like, with the hotel crammed full of worshippers and a terrifying, stultifying conformity that is bad enough before we even start asking about the people Jasmine seems to take to her room. And when Connor asks where they went she simply says “I ate them”. She can do whatever the hell she wants and is clearly evil.
I like the interlude with the hand-eating demon, butvthe sheer hopeless drives Fred to seemingly surrender- only to shoot Angel Through Jasmine, thereby mixing their bloods and reversing the spell. It’s clever, she’s clever, and she and Angel are able to do what’s necessary for the plot and free the minds of the whole gang. Yes, it’s a stretch that the blood of Cordelia, comatose mother of the goddess (what about Charisma Carpenter?) will do the same thing, butbthe rpisode gets awY with it, and is a bloody well-crafted 42 minutes of television.
It’s depressingly predictable, of course, that Connor should betray them even after they’ve seen the light. What are we going to do with that boy?
The first few minutes of this episode are deeply effective; an old fashioned, happy LA with a prominent ‘50s car and a Beach Boys soundtrack. It all looks idyllic- until we see that Fred is being chased and is lucky to escape. Winifred Burkle, alone, against not only her friend but a city that is slowly becoming a hive mind, where everyone is the eyes and ears for Jasmine. Things seem hopeless, but despite the quote above Fred is a hero.
This is the episode that shows what a completely Jasmine-controlled LA is like, with the hotel crammed full of worshippers and a terrifying, stultifying conformity that is bad enough before we even start asking about the people Jasmine seems to take to her room. And when Connor asks where they went she simply says “I ate them”. She can do whatever the hell she wants and is clearly evil.
I like the interlude with the hand-eating demon, butvthe sheer hopeless drives Fred to seemingly surrender- only to shoot Angel Through Jasmine, thereby mixing their bloods and reversing the spell. It’s clever, she’s clever, and she and Angel are able to do what’s necessary for the plot and free the minds of the whole gang. Yes, it’s a stretch that the blood of Cordelia, comatose mother of the goddess (what about Charisma Carpenter?) will do the same thing, butbthe rpisode gets awY with it, and is a bloody well-crafted 42 minutes of television.
It’s depressingly predictable, of course, that Connor should betray them even after they’ve seen the light. What are we going to do with that boy?
Wednesday, 10 October 2018
Buffy the Vampire Slayer: Empty Places
"I keep waiting for my other senses to improve 50%. That'll kick in any day now."
The end is nigh, and after six previous seasons we know that the narrative requires a wedge between the Scoobies in afvance of the final battle. We’ve already seen a bit of this with the ongoing estrangement between Buffy and Giles, but the end of this episode sees this sort of thing taken to its devastating extreme, with Buffy being kicked out of her own home by her own sister.
It’s made very clear that things are dire. There’s a mass exodus from Sunnyvale, including Clem. School is closed. No one has any way of fighting back against the horrible misogynistic Caleb, whose dialogue is horrifying and who represents an acting triumph from the great Nathan Fillion.
There’s a little humour early on, yes, with Anya’s lecture which ends up with Andrew writing “break-up sex on the board, but otherwise things are unrelentingly grim. Thevdull teality of Xander losing an eye really hits home; it’s devastating to see Willow about to cry when Xander makes a quip about being spared Jaws 3-D, and Xander simply saying “Please don’t.”
Morale is rock bottom, and Faith’s attempt to cheer up the troops by taking them to the Bronze goes horribly wrong. The police are carefully stated to be “Hellmouthed” and shown to be brutal and corrupt so that we root for Faith against them. Fair enough. But I still expect her to return to prison when this is all over. As we established long ago, slayers are no better than other people and shouldn’t have privileged status.
Faith and Robin seem to connect. And Spike and Andrew go off on a mission that may provide useful knowledge against Caleb. But things are miserable, especially after Xander Returns with that horrible injury. So the response to Buffy’s plan- to attack the Vineyard again because it’s obviously important- meets a negative response from even those closest to her. Buffy doesn’t help herself by saying the wrong things; slayers are no better than other people. It’s a hard hitting ending, but Buffy gets the last word, pointing out that Faith now has to cope with the burden of leadership.
The end is nigh, and after six previous seasons we know that the narrative requires a wedge between the Scoobies in afvance of the final battle. We’ve already seen a bit of this with the ongoing estrangement between Buffy and Giles, but the end of this episode sees this sort of thing taken to its devastating extreme, with Buffy being kicked out of her own home by her own sister.
It’s made very clear that things are dire. There’s a mass exodus from Sunnyvale, including Clem. School is closed. No one has any way of fighting back against the horrible misogynistic Caleb, whose dialogue is horrifying and who represents an acting triumph from the great Nathan Fillion.
There’s a little humour early on, yes, with Anya’s lecture which ends up with Andrew writing “break-up sex on the board, but otherwise things are unrelentingly grim. Thevdull teality of Xander losing an eye really hits home; it’s devastating to see Willow about to cry when Xander makes a quip about being spared Jaws 3-D, and Xander simply saying “Please don’t.”
Morale is rock bottom, and Faith’s attempt to cheer up the troops by taking them to the Bronze goes horribly wrong. The police are carefully stated to be “Hellmouthed” and shown to be brutal and corrupt so that we root for Faith against them. Fair enough. But I still expect her to return to prison when this is all over. As we established long ago, slayers are no better than other people and shouldn’t have privileged status.
Faith and Robin seem to connect. And Spike and Andrew go off on a mission that may provide useful knowledge against Caleb. But things are miserable, especially after Xander Returns with that horrible injury. So the response to Buffy’s plan- to attack the Vineyard again because it’s obviously important- meets a negative response from even those closest to her. Buffy doesn’t help herself by saying the wrong things; slayers are no better than other people. It’s a hard hitting ending, but Buffy gets the last word, pointing out that Faith now has to cope with the burden of leadership.
Tuesday, 9 October 2018
Angel: Shiny Happy People
"Even before you were born, I chose you to be my father."
Just as with two seasons ago, with the adventures on Pylea, the status quo has changed utterly for the last few episodes, with the baby of Cordelia (asleep all episode) and Connor turning out to be Jasmine, a good-nature’s paragon of virtue and a goddess whom everyone feels the urge to worship, including our heroes, who under her leadership swiftly free LA from all the vampires and demons which are oppressing it. Or is she?
This episode feels weird; first Angel and Connor fall under her spell, returning to the hotel to the horror of their friends, with Wesley trying to convince them they’ve been manipulated. Yet, as soon as Jasmine arrives, they all drop to their knees. It’s deeply disconcerting, as well as unusual to see Gina Torres (Firefly has just been cancelled) in a part like this.
Of course, a chink in her armour soon appears as just one of many worshippers suddenly shouts that she is a “monster” and “deserves to die”. This is rationalised as hate... until Fred randomly sees Jasmi’s probable true face, with maggots everywhere. This breaks the spell for her and she ends up on the run, the only person in the whole city not under Jasmine’s spell. Yep; finally we get a situation in which Fred is unambiguously the hero. The scene in which first Wesley and then the whole gang turns against her is chilling.
This episode consists mainly of set up and establishing a new status quo, so it’s best, I think, to reserve judgement for now. But yet again we see why Angel, with no status quo that can ever be relied upon, is indeed the televisual equivalent of Chris Claremont’s run on X-Men. And that is high praise indeed.
Just as with two seasons ago, with the adventures on Pylea, the status quo has changed utterly for the last few episodes, with the baby of Cordelia (asleep all episode) and Connor turning out to be Jasmine, a good-nature’s paragon of virtue and a goddess whom everyone feels the urge to worship, including our heroes, who under her leadership swiftly free LA from all the vampires and demons which are oppressing it. Or is she?
This episode feels weird; first Angel and Connor fall under her spell, returning to the hotel to the horror of their friends, with Wesley trying to convince them they’ve been manipulated. Yet, as soon as Jasmine arrives, they all drop to their knees. It’s deeply disconcerting, as well as unusual to see Gina Torres (Firefly has just been cancelled) in a part like this.
Of course, a chink in her armour soon appears as just one of many worshippers suddenly shouts that she is a “monster” and “deserves to die”. This is rationalised as hate... until Fred randomly sees Jasmi’s probable true face, with maggots everywhere. This breaks the spell for her and she ends up on the run, the only person in the whole city not under Jasmine’s spell. Yep; finally we get a situation in which Fred is unambiguously the hero. The scene in which first Wesley and then the whole gang turns against her is chilling.
This episode consists mainly of set up and establishing a new status quo, so it’s best, I think, to reserve judgement for now. But yet again we see why Angel, with no status quo that can ever be relied upon, is indeed the televisual equivalent of Chris Claremont’s run on X-Men. And that is high praise indeed.
Sunday, 7 October 2018
Doctor Who: The Woman Who Fell to Earth
“Sorry. Half an hour ago I was a white haired Scotsman...”
No opening title sequence. No reprise of the regeneration. Just the above line, some interesting dialogue about the process of adapting to a new persona, and Peter Capaldi’s clothes. Those aside, we have only the perennials of the programme to guide us into what does indeed look very much like, ahem, a “jumping on point”.
We’ve had few spoilers and an incredible vagueness in publicity; personally, I’ve never known less about a new season of Doctor Who. I mean, beyond next week we don’t even know the episode titles. We know to expect easier-to-follow storytelling and no old monsters for this season, but that's it.
So what did we get? Well, I'm impressed. Chibnall's stuff has been variable in the past to say the least, as least with Who (I haven't seen any Broadchurch but will remedy that very, very soon, trust me), but here he nails it. A simple plot (a policy aim, I understand; I yield to no one in my Moffat fanboyishness but even I will accept that his complex plotting, brilliant though it is, is wont to drive away the kids), likeable characters in Ryan- a decent kid held back by his dyspraxia; Yasmin, his old school friend and now rookie copper; and Graham, his cancer survivor step-grandad- and of course his Nan, who dies heartbreakingly by falling off a pylon thingy while saving the day. Such a very Tom way to die, as we old fans know, and the culmination of some very good writing to get us (and the new Doctor, of whom more in a bit) to like these four (soon to be three) new friends.
The whole thing looks amazing, indeed cinematic, although there is perhaps a darkness to the visuals which isn't necessarily there in the script. I can't deny that the direction is superb; I can, however, worry that the veering towards a horror film style may drive away younger viewers as surely as complex plots. That shot of the baddie with teeth all over his face terrified Mrs Llamastrangler.
And Jodie Whittaker? She is, simply, the Doctor. Her every line, her every act, is Doctorishness incarnate.She's superb. There's nothing more to it than that. The fact that she happens to be this or that gender is completely and utterly meh. It's interesting that, a token short period of unconsciousness and lots of exposition about how she's still forming aside (and that nice subtle touch of the little bit of regeneration energy) she's up and running and active and Doctoring from the start, much as Matt Smith, and is very much the more broadly Doctorish type- a Tom, or a Tennant, or a Troughton rather than one of the irascible ones. But we shall see.
Interesting that we start without a TARDIS- it appears that this will be resolved next episode, along with an explanation as to what happened; fortunately the Doctor ends up,with the dead alien's transmat thingy in order to get her to the necessary planet. Along with Yasmin, Ran and Graham. Oops. We also get a new sonic screwdriver, "now with added Sheffield steel", a very Sheffield feel with some awesome shots of the Peak District, a traditional debut episode confrontation scene, and a joyous new costume scene. Overall this is an impressive new debut to the new era and the new Doctor. And Chibnall? He done good, and his strong point seems to be characters over plot. Let's hope that being able to create everything to his liking continues to play to his strengths. For now, though, I'm excited.
Love the theme tune and closing sequence too- very Tom, but very modern.
No opening title sequence. No reprise of the regeneration. Just the above line, some interesting dialogue about the process of adapting to a new persona, and Peter Capaldi’s clothes. Those aside, we have only the perennials of the programme to guide us into what does indeed look very much like, ahem, a “jumping on point”.
We’ve had few spoilers and an incredible vagueness in publicity; personally, I’ve never known less about a new season of Doctor Who. I mean, beyond next week we don’t even know the episode titles. We know to expect easier-to-follow storytelling and no old monsters for this season, but that's it.
So what did we get? Well, I'm impressed. Chibnall's stuff has been variable in the past to say the least, as least with Who (I haven't seen any Broadchurch but will remedy that very, very soon, trust me), but here he nails it. A simple plot (a policy aim, I understand; I yield to no one in my Moffat fanboyishness but even I will accept that his complex plotting, brilliant though it is, is wont to drive away the kids), likeable characters in Ryan- a decent kid held back by his dyspraxia; Yasmin, his old school friend and now rookie copper; and Graham, his cancer survivor step-grandad- and of course his Nan, who dies heartbreakingly by falling off a pylon thingy while saving the day. Such a very Tom way to die, as we old fans know, and the culmination of some very good writing to get us (and the new Doctor, of whom more in a bit) to like these four (soon to be three) new friends.
The whole thing looks amazing, indeed cinematic, although there is perhaps a darkness to the visuals which isn't necessarily there in the script. I can't deny that the direction is superb; I can, however, worry that the veering towards a horror film style may drive away younger viewers as surely as complex plots. That shot of the baddie with teeth all over his face terrified Mrs Llamastrangler.
And Jodie Whittaker? She is, simply, the Doctor. Her every line, her every act, is Doctorishness incarnate.She's superb. There's nothing more to it than that. The fact that she happens to be this or that gender is completely and utterly meh. It's interesting that, a token short period of unconsciousness and lots of exposition about how she's still forming aside (and that nice subtle touch of the little bit of regeneration energy) she's up and running and active and Doctoring from the start, much as Matt Smith, and is very much the more broadly Doctorish type- a Tom, or a Tennant, or a Troughton rather than one of the irascible ones. But we shall see.
Interesting that we start without a TARDIS- it appears that this will be resolved next episode, along with an explanation as to what happened; fortunately the Doctor ends up,with the dead alien's transmat thingy in order to get her to the necessary planet. Along with Yasmin, Ran and Graham. Oops. We also get a new sonic screwdriver, "now with added Sheffield steel", a very Sheffield feel with some awesome shots of the Peak District, a traditional debut episode confrontation scene, and a joyous new costume scene. Overall this is an impressive new debut to the new era and the new Doctor. And Chibnall? He done good, and his strong point seems to be characters over plot. Let's hope that being able to create everything to his liking continues to play to his strengths. For now, though, I'm excited.
Love the theme tune and closing sequence too- very Tom, but very modern.
Batman Returns (1992)
"I'm tired of wearing masks."
I haven't seen this since 1992, at the old Cannon cinema in Hinckley. I don't much remember what I thought of it then, but I like it a lot now. It doesn't quite beat its predecessor for me (sorry, Nick!)- it doesn't quite have the depth, visual elegance or Batman screentime- but Tim Burton leaves the franchise with two superb films under his utility belt.
Batman’s lack of screen time here is a surprise- Batman and Bruce Wayne are little more than a plot function here, with Michael Keaton not given much interesting stuff to do, especially as compared with the first film. But then we must remember that this isn’t primarily a franchise film but a Tim Burton film; the film is about the Penguin and Catwoman.
Interestingly, though, neither of the two traditional villains are wholly evil; that accolade goes to the splendidly named Max Shrek, a corrupt and morally depraved businessman whose Nosferatu-inspired name fits well with the film’s aesthetic for Gotham. He’s the catalyst for Catwoman. Selina Kyle, a downtrodden and humiliated secretary, single, alone and browbeaten by all and sundry, finds out stuff she shouldn’t and is thrown out of a high window, losing the first of her nine lives, and something snaps. At first it looks as though there’s a bit of a feminist message here, especially as Catwoman’s first outing is to rescue a woman from a man in a dark alley, but this doesn’t go anywhere. Still, Michelle Pfeiffer is pretty good and the kinky latex costume and whip looks cool- although it sort of takes over from the whole cat thing. Still, an impressive treatment of the character.
The treatment of Danny DeVito’s Penguin is much more radical; this Oswald Cobblepot grew up in the sewers, abandoned, and the only cigarette holder to be seen is that of his father, glimpsed early on. The umbrellas and monocle are present and correct, but this is a much more feral Penguin, no angel but genuinely vulnerable, and bordering even on likeable if he were not so lecherous.
These characters are fascinating, and what the film is about, much more so than Batman or even Gotham. This is notably much more of a Tim Burton film and less of a Batman film than its predecessor, and the respective values you place on those two categories will probably decide which of the two you prefer. Personally, I may like this one less but it is nonetheless superb.
Batman’s lack of screen time here is a surprise- Batman and Bruce Wayne are little more than a plot function here, with Michael Keaton not given much interesting stuff to do, especially as compared with the first film. But then we must remember that this isn’t primarily a franchise film but a Tim Burton film; the film is about the Penguin and Catwoman.
Interestingly, though, neither of the two traditional villains are wholly evil; that accolade goes to the splendidly named Max Shrek, a corrupt and morally depraved businessman whose Nosferatu-inspired name fits well with the film’s aesthetic for Gotham. He’s the catalyst for Catwoman. Selina Kyle, a downtrodden and humiliated secretary, single, alone and browbeaten by all and sundry, finds out stuff she shouldn’t and is thrown out of a high window, losing the first of her nine lives, and something snaps. At first it looks as though there’s a bit of a feminist message here, especially as Catwoman’s first outing is to rescue a woman from a man in a dark alley, but this doesn’t go anywhere. Still, Michelle Pfeiffer is pretty good and the kinky latex costume and whip looks cool- although it sort of takes over from the whole cat thing. Still, an impressive treatment of the character.
The treatment of Danny DeVito’s Penguin is much more radical; this Oswald Cobblepot grew up in the sewers, abandoned, and the only cigarette holder to be seen is that of his father, glimpsed early on. The umbrellas and monocle are present and correct, but this is a much more feral Penguin, no angel but genuinely vulnerable, and bordering even on likeable if he were not so lecherous.
These characters are fascinating, and what the film is about, much more so than Batman or even Gotham. This is notably much more of a Tim Burton film and less of a Batman film than its predecessor, and the respective values you place on those two categories will probably decide which of the two you prefer. Personally, I may like this one less but it is nonetheless superb.
Saturday, 6 October 2018
Psycho (1960)
"We all go a little mad sometimes..."
Wow. This film is a bit good, innit?
I suppose what strikes me, aside from the sheer power of the shower scene and the suddenly artier camerawork with Marion’s corpse, something which is profoundly effective- and brave, doing something so arty in a film pitched at such a mainstream audience.
But the genius of the film isn’t limited to individual scenes or shots, or indeed to the gloriously radical decision of killing off what we’re implicitly told is the main protagonist halfway through. No; it’s the masterful code-switching between parts of the film which feel like ordinary drama and parts which ramp up the tension and unease- and the sheer mastery of switching between them.
This is a Hitchcock film, of course; you expect tension. Janet Leigh is superb, and carries the film, in thosezearly scenes where she’s on the run and evading the ever-present police. But once we reach the Bates Motel, the mood changes- or rather, it doesn’t, at least not immediately. The excellent Anthony Perkins comes across as lonely, weak, a little dorky perhaps, but he feels normal at first, and we (and Marion) feel at ease.
And then we don’t.
The sudden switch where Marion says the wrong thing to Norman- about putting his mother away- is deeply effective, and that’s certainly down to the performance but also down to the direction; suddenly the entire visual grammar of the film changes and the way the camera is used- the very thing that controls our sense of reality- suddenly becomes uncomfortable, unnerving. And stats that way whenever Hitchcock wants it to.
What lingers, though, is that extraordinary final shot of Bates looking as scary, through sheer acting, as anything in all of cinema. Superb.
I suppose what strikes me, aside from the sheer power of the shower scene and the suddenly artier camerawork with Marion’s corpse, something which is profoundly effective- and brave, doing something so arty in a film pitched at such a mainstream audience.
But the genius of the film isn’t limited to individual scenes or shots, or indeed to the gloriously radical decision of killing off what we’re implicitly told is the main protagonist halfway through. No; it’s the masterful code-switching between parts of the film which feel like ordinary drama and parts which ramp up the tension and unease- and the sheer mastery of switching between them.
This is a Hitchcock film, of course; you expect tension. Janet Leigh is superb, and carries the film, in thosezearly scenes where she’s on the run and evading the ever-present police. But once we reach the Bates Motel, the mood changes- or rather, it doesn’t, at least not immediately. The excellent Anthony Perkins comes across as lonely, weak, a little dorky perhaps, but he feels normal at first, and we (and Marion) feel at ease.
And then we don’t.
The sudden switch where Marion says the wrong thing to Norman- about putting his mother away- is deeply effective, and that’s certainly down to the performance but also down to the direction; suddenly the entire visual grammar of the film changes and the way the camera is used- the very thing that controls our sense of reality- suddenly becomes uncomfortable, unnerving. And stats that way whenever Hitchcock wants it to.
What lingers, though, is that extraordinary final shot of Bates looking as scary, through sheer acting, as anything in all of cinema. Superb.
Friday, 5 October 2018
High Noon (1952)
"I've got to.That's the whole thing."
It's been far too long since I did a classic western so, well, here's one. And let's not beat about the bush; it's a superb piece of cinema about one man who chooses to stand and fight even though no one else will. It's been said (interestingly given the story behind it) that this is an allegory for McCarthyism but it stands as a monument to non-conformity of all kinds- as well as those perennial Western values and doing the right thing no matter what the potential cost.
Gary Cooper looks old as Will Kane but, oddly enough, this works; Will is retiring as marshal on the day of his wedding to his young bride (and weddings in the old West seem crap; in the morning, no music, no booze...!) until he hears that a killer he once put away is returning to terrorise the town- and kill him. So Will turns around and the clock starts ticking- literally: we constantly see clocks and the film runs down in near real time until the arrival of the baddie by train at noon. And Gary Cooper looks ever more old, tired, hopeless and sweat-ridden as the minutes go by and the hope drains away. As he admits to a shockingly young Lloyd Bridges, he's scared. But he does the right thing.
And he does so alone; his new wife has seemingly abandoned him and, unexpectedly, the film consists not of action- in fact, until the last few minutes, there isn't much of this, but of slow, desperate debate as Will spends most of the film trying to get someone, anyone, to stand by him as he's stood by them. And no one does- except his wife, at the last minute, after she's had a good talking to. It's a fascinating point both of the moral cowardice of the majority and the nobility of doing the right thing even, indeed especially, if no one else does.
All this is superbly shot with plenty of tension and restrained terror. This film is justly revered and makes me want to see more acclaimed westerns.
Gary Cooper looks old as Will Kane but, oddly enough, this works; Will is retiring as marshal on the day of his wedding to his young bride (and weddings in the old West seem crap; in the morning, no music, no booze...!) until he hears that a killer he once put away is returning to terrorise the town- and kill him. So Will turns around and the clock starts ticking- literally: we constantly see clocks and the film runs down in near real time until the arrival of the baddie by train at noon. And Gary Cooper looks ever more old, tired, hopeless and sweat-ridden as the minutes go by and the hope drains away. As he admits to a shockingly young Lloyd Bridges, he's scared. But he does the right thing.
And he does so alone; his new wife has seemingly abandoned him and, unexpectedly, the film consists not of action- in fact, until the last few minutes, there isn't much of this, but of slow, desperate debate as Will spends most of the film trying to get someone, anyone, to stand by him as he's stood by them. And no one does- except his wife, at the last minute, after she's had a good talking to. It's a fascinating point both of the moral cowardice of the majority and the nobility of doing the right thing even, indeed especially, if no one else does.
All this is superbly shot with plenty of tension and restrained terror. This film is justly revered and makes me want to see more acclaimed westerns.
Wednesday, 3 October 2018
Buffy the Vampire Slayer: Dirty Girls
"Why would Faith kill a person who studies Vulcans?"
Wow. That’s an amazingly compact but efficient “previously on” that manages to cover an awful lot of ground. I’m impressed.
Everything about this ominously serious episodes points to something shocking terrible happening. From the constant reminders of how the Potentials are untested, to Xander’s rousing speech about how Buffy cares about their lives which makes it certain that something bad will happen to him, to the atmosphere of doom and gloom, we expect something tragic to happen.
In the meantime we get introduced to the darkly misogynistic and manipulative Caleb, a superb preacher-like villain played by the ever-superb Nathan Fillion, recent refugee from Firefly. Caleb gives a face and personality to the First, somethingbthat was previously missing, and is both enormously charismatic and (as we shockingly see at the end) strong enough to swat away slayers like flies. We also have Faith’s awkward return to Sunnyvale, where under the circumstances she’s certainly welcome but doesn’t fit in. But she and Spike bond over their shared bad past, their shared kinky natures, and the revelation that they have in fact had some incredible sex in the past when Faith was pretending to be Buffy. First impressions and all that...
It’s weird, although inevitable, to see Faith and Dawn recognise each other though.
We also see Buffy and Robin reconcile, although he fires her; she has far more important things to do. But much of the interaction concerns the wisdom of Buffy’s proposed attack on Caleb- both Giles (still in the doghouse) and Xander disagree, which I’m sure is something we will return to next episode. But we end with the assault on the First and, of course, evedything goes wrong as a redshirt Potential is killed- and Xander loses an eye.
A tensexand superb bit of telly, then, that makes it clear we’re now entering the final stretch.
Wow. That’s an amazingly compact but efficient “previously on” that manages to cover an awful lot of ground. I’m impressed.
Everything about this ominously serious episodes points to something shocking terrible happening. From the constant reminders of how the Potentials are untested, to Xander’s rousing speech about how Buffy cares about their lives which makes it certain that something bad will happen to him, to the atmosphere of doom and gloom, we expect something tragic to happen.
In the meantime we get introduced to the darkly misogynistic and manipulative Caleb, a superb preacher-like villain played by the ever-superb Nathan Fillion, recent refugee from Firefly. Caleb gives a face and personality to the First, somethingbthat was previously missing, and is both enormously charismatic and (as we shockingly see at the end) strong enough to swat away slayers like flies. We also have Faith’s awkward return to Sunnyvale, where under the circumstances she’s certainly welcome but doesn’t fit in. But she and Spike bond over their shared bad past, their shared kinky natures, and the revelation that they have in fact had some incredible sex in the past when Faith was pretending to be Buffy. First impressions and all that...
It’s weird, although inevitable, to see Faith and Dawn recognise each other though.
We also see Buffy and Robin reconcile, although he fires her; she has far more important things to do. But much of the interaction concerns the wisdom of Buffy’s proposed attack on Caleb- both Giles (still in the doghouse) and Xander disagree, which I’m sure is something we will return to next episode. But we end with the assault on the First and, of course, evedything goes wrong as a redshirt Potential is killed- and Xander loses an eye.
A tensexand superb bit of telly, then, that makes it clear we’re now entering the final stretch.
Monday, 1 October 2018
Angel: Inside Out
"Guy steps out for a few hours, half the place goes supervillain."
This episode is about as much a game changer as it’s possible to be. Cordy has been exposed and confronted as the baddie and is freed to spend all of her time quite openly mwa-ha-ha-ha-ha-ing. Except, that is, she’s still grooming (the word gets used) and gaslighting Connor.
Ah, Connor. We’ve discussed how annoying he is before, but he creaky crosses a line here, and seems as though he’s genuinely meant to come across as an annoying little shit. Even his mother’s ghost, sent by the Powers to speak to him, are unable to get through. He’s completely under the spell of whatever’s controlling Cordelia, and goes as far as to be an accessory to the cold-blooded murder of an innocent girl. His hands are quite literally dipped in blood.
We learn a lot, too; the thing controlling Cordy has been manipulating events for a long time, including Cordy’s ascension and an awful lot of recent events. Much seems to be depressingly pre-ordained, although Gunn gets a wonderful speech about how some amount of agency still exists. Skip, of course, has always been in on it and is, in fact, evil.
We also get a big montage of how it was in fact Cordy who did all sorts of unexplained things over the course of many episodes, and Wesley comes to realise that it was her who killed Lilah. It’s moving to see the renewed friendship between Angel and Wes here as Angel cares because Wes does, a nice moment.
It all ends with a flash of light as the baby is born and turns out to be Gina Torres, getting a compensation role after the cancellation of Firefly. And everyone kneels before her. Yet another twist in a series that glories in having no status quo. This is brilliant stuff and it’s looking awfully like a rather brilliant series with not long to go.
This episode is about as much a game changer as it’s possible to be. Cordy has been exposed and confronted as the baddie and is freed to spend all of her time quite openly mwa-ha-ha-ha-ha-ing. Except, that is, she’s still grooming (the word gets used) and gaslighting Connor.
Ah, Connor. We’ve discussed how annoying he is before, but he creaky crosses a line here, and seems as though he’s genuinely meant to come across as an annoying little shit. Even his mother’s ghost, sent by the Powers to speak to him, are unable to get through. He’s completely under the spell of whatever’s controlling Cordelia, and goes as far as to be an accessory to the cold-blooded murder of an innocent girl. His hands are quite literally dipped in blood.
We learn a lot, too; the thing controlling Cordy has been manipulating events for a long time, including Cordy’s ascension and an awful lot of recent events. Much seems to be depressingly pre-ordained, although Gunn gets a wonderful speech about how some amount of agency still exists. Skip, of course, has always been in on it and is, in fact, evil.
We also get a big montage of how it was in fact Cordy who did all sorts of unexplained things over the course of many episodes, and Wesley comes to realise that it was her who killed Lilah. It’s moving to see the renewed friendship between Angel and Wes here as Angel cares because Wes does, a nice moment.
It all ends with a flash of light as the baby is born and turns out to be Gina Torres, getting a compensation role after the cancellation of Firefly. And everyone kneels before her. Yet another twist in a series that glories in having no status quo. This is brilliant stuff and it’s looking awfully like a rather brilliant series with not long to go.