Quantum of Solace (2008)

 "Bond, if you could avoid killing every possible lead, it would be appreciated."

Finally I've caught up in my Bond marathon. I saw this film at the cinema in 2008, but I haven't seen anything since. All things Bond from this point forward are new territory for me. 

As for this one, though... it surprised me. Oh, I'm not saying it's one of the better Bond films because it certainly isn't. It deserves praise for it's non-excessive run time, but it has flaws. The many action set pieces are entertaining but don't come remotely close to equalling those of Casino Royale. Olga Kurylenko impresses as Camille, a character with depth who earns Bond's respect, while Gemma Arterton is also good as Strawberry Fields(!) who, as tradition dictates, falls for Bond, but ends up dying with a touch of the grand guignol. And yet...

The villain, the plot, the scheme- to engineer a coup in Bolivia and profit from control of the nation's water- lacks a certain excitement. Bond is cut loose from MI6 and on the run, albeit with M's role being ambiguous.. but how many times have we seen this? Compared to its predecessor, this film ends up seeming lacklustre by comparison.

And yet...none of that makes it a bad film, just a flawed one. And, on this second viewing,hot on the heels of seeing Casino Royale, I can see what they may have been trying to do. Yes, Daniel Craig's Bond lacks the flippant charm of his predecessors, but the character has depth. The fim sees him working through his feelings about Vesper, finally forgiving her (and himself), as urged by Matheson's dying words, and we end with him finally getting revenge.

And, across both films together, a shadowy organisation is set up- no spoilers, please, but perhaps SPECTRE?

All of this may well be going somewhere. If so, this film may be more quietly impressive than it appears on first glance.

Wolf Hall- The Mirror and the Light: Defiance

 "In the north parts, they use your name to terrify their children..."

Oh my. There's soooo much going on here. Yet the overall trajectory is clear: Henry's court is always a place of peril, both geographically and conceptually, and for Cromwell, this may be the beginning of his slow end.

For the king, he keeps failing to get Reginald Pole. Those rumours about him wanting to marry the Lady Mary just won't go away. And the schemes he is forced to use, because of the king, are beginning to affect others' opinions of him. Most obviously, the Lincolnshire rebels, who see him as a literal antichrist... but there is mistrust and misunderstanding everywhere. The ending of last episode sort of broke Cromwell emotionally, and suddenly he is alive to how he is seen.

Those jibes from Lady Rochford (possibly my favourite character) hit harder. Bess mistakenly believes she is to marry the father, not the son, and even Gregory suspects Thomas of designs on his wife. Ouch.

The King continues to be scary and volatile. Chapuys continues to be a fun character, the ultimate player of ten dimensional chess. But the atmosphere is, if such a thing were possible, all the more dangerous. Even Jane, in the things she begs for, risks angering the king. If she were not with child, well... it's clear that her reputation as Henry's favourite wife owes not to any real affection on his part but what she gave him in her death. Poor woman. But I get ahead of myself.

We end with a bombshell: Cromwell has an illegitimate daughter. Yet the peril seems so much more...

Superlative telly. As if it needed saying.

Batman: The Animated Series- Two-Face, Part I

 "I'm more worried about the mental scars..."

Our first two parter, and... the series seems to be stepping up a gear. This is seriously impressive stuff. It was clever to have us know Harvey Dent from earlier in the series: everything in this episode feels earned, which only deepens the feelings of real tragedy.

This seems to be much deeper than the Two-Face origins- admittedly 1970s and earlier- with which I'm earlier.We have Dent as an incorruptible but intense District Attorney, but he has pre-existing demons. Boss Thorne, from the comics, is present and correct, but this episode plus front and centre the stgmas around mental health which were very much a thing in the '90s ('40s?), with Harvey enduring the stress of an election campaign to boot. It's a potent mix and very well realised.

The tragedy at the end packs a punch- Dent's disfugurement, no fault of his own, and his mental health issues have cost him his career, and now his fiancee.

And so, for the first time, we end on a cliffhanger and plunge into part two with a real sense of quality.

Wolf Hall- The Mirror and the Light: Obedience

 "I created him..."

And the second episode turns out to be even better than the first, which is saying a lot. In fact, let us not mince words: yes, it looks fantastic and the acting is first rate. But this is an absolute masterpiece of televisual scriptwriting- and makes it clear that I need to read the original novels as it seems likely that Hilary Mantel may indeed be a genius.

This is a masterpiece of form and feeling. In showing us the deadly danger of Henry's court, where anyone can sudenly be judicially murdered at the whim of a capricious tyrant, we have a series of examples. Firstly, there is Lady Margaret and her affair and, indeed, marriage (without the king's permission) to Thomas, one of the younger, pooer Howards. Meg is soon made by Cromwell and her friend, in an extraordinary scene, to realise just how much trouble she's in... but Thomas stands to lose everything.

For this is a world in which it is treason to imagine the death of the king. To marry the king's niece is to maneouvre oneself closer to the throne, and this smacks of dangerous ambition.

Yet soon Cromwell himself faces the same danger, as absurd yet potentially damaging rumours start to spead of his wishing to marry the Lady Mary. The aggression with which he treats Chapuys here leaves us in no doubt that he realises fully the dangers of his situation.

And then we have poor Jane Seymour, having to endure the sexual attentions of that bloated, smelly man. She confesses to not enjoying said attentions, and worries that, without taking sexual pleasure, she will not conceive a son. What lies unspoken, horribly, is that, without a son, she will be yet another Anne Boleyn, fated for the block.

Finally, we have the devastating conclusion, as Cromwell shakily says all the wrong things to Wolsey's daughter, slowly realising exactly how he is seen... and may have been seen, at the end, by his beloved Wolsey himself.

Oh, the things one must sacrifice for the king. And he will always demand more and more...

Batman: The Animated Series- Be a Clown

 "If it wasn't risky, I wouldn't enjoy it."

I suppose, on the basic level, this is a by-the-numbers and very typical Joker episode, for said villain has now appeared three times and I'm perhaps in a position to gauge what's "normal". Mark Hamill is, as ever, splendid. The creepy abandoned amusement park- often seen in Batman in various media since the '70s- is nicely used, and there are lots of excellent set pireces. Interestingly, some of them are riffs on Harry Houdini- not only are the clothes and cars reminiscent of the 1940s, the same is true of the pop culture references here.

Yes, there's an annoying kid. But the point here, I think, is to introduce us properly to Mayor Hamilton Hill- bad father, selfish and ambitious climber, useless obstacle and busybody, and blinkered about the Batman. And that introduction is well done as we now know and disapprove of him.

The Joker as clown, though? Brr. But I do begin to worry if the character, while well portrayed, is coming across as pretty one note? We shall see.

Casino Royale (2006)

 "That last hand nearly killed me..."

I'm doing lots of different film marathons where I blog each film in order, in some cases veeeeery slowly, something I'm actually quite proud of. Because my blogging of the Bond films is gleefully slow, at a snail's pace, having started in 2015. Yet it proceeds inexorably on. 

Casino Royale, though... yes, it'a little too long and bloated, as blockbuster films from the present century inevitably are, but objectively it's very good indeed. I enjoiyed it. I'll be honest, though: while there's much to admire I found it dragged at times on this viewing, but perhaps for reasons which are not entirely the film's fault.

Daniel Craig is superlatively good as a more nuanced Bond, one with much more interiority, but still absolutely the Bond we know. And, of course, he gets a real character arc here, more so than since On Her Majesty's Secret Service.

Importantly, though- and the word is much overused, but it's literally so here, although the continuing presence of Judi Dench as M does make one wonder. Bond begins the film earning his promotion to 00 status, in delightfully artily shot scenes. The Bond theme is not heard until the end. Bond has yet to think of a name for his dry martini, shaken, not stirred.... (crikey, spirits are complicated. I stick to real ale and wine) and,of course, there's the last line of the film.

Yet much of the film is a very well done tromance between Bond and Vesper, starting out sparring and eventually falling in love with her, resigning and proposing to spend her life with her. Of course, we know what happened to Trace well back then:Vresper's death is no shock. But the manner and circumstances of her death are truly heartbreaking. No wonder Bond, I assume, will harden his heart and be wary of attachments from now on.

There's lots of action, loads of set pieces, and all with a more realistic tone, devoid of the slight excess of gadgets we've seen in the recent past... although, that scene...? Ouch.

So yes, the film is a little overlong, but very, very good. And yet, so much screen time is devoted to playing poker and... well, this is just me, but I find gambling so very boring. Not that I'm in any way puritanical... it's just dull.

I accept, though, that this is just a matter of taste. Overall, this is a highly effective and affecting relaunch.

Hard Target (1993)

 "How does it feel to be hunted?"

Before I go anything further, something has to be said.

That mullet is not acceptable.

There.

Aside from that lamentable lapse, however, John Woo gives us a well shot and solidly scripted action film with excellent set pieces aplenty, the highlight probably being our protagonist literally standing on the saddle of a moving motorcycle as he sprays his limitless supply of bullets at various expendable baddies.

The concept is interesting- shadowy, cynical baddies recruit homeless military veterans for rich paying clients to hunt and kill, with Jean-Claude Van Damme's Chance getting mixed up in it all. The setting- New Orleans and the surrounding bayou- also adds a lot of flavour. And, while this is hardly a film oozing with subtext, there's a nice bit of commentary on how we ignore and dehumanise homeless people.

Van Damme, shall we say, is probably never going to win an Oscar, decent though he is, although he can certainly kick. But the film lives and breathes by its hugely charismatic baddie, with the superb Lance Henriksen chewing the scenery in the best possible way. His performance is a real highlight.

But, well, the whole thing is just so fun and entertaining, especially the last third of the film,in the bayou, as the final hunt plays out. Yes, Chance and his friends have absurd quantities of plot armour. Yes, Chance shoots a truly absurd quantity of anonymous henchmen with a single shot. But...isn't that part of the fun?

Go on. Switch your brain off and give it a go. You know you want to.

Wolf Hall- The Mirror and the Light: Wreckage

 "I do not understand you, Cromwell. Why are you not afraid? You should be afraid."

It's been... yeah, many, many years. Use the search function if you'd like to see my reviews of the earlier series, adapting Hilary Mantel's first two novels- I did; I certainly needed my memory refreshing. So much life has happened for me since then....

This first episode is extraordinarily powerful. Story, stript, acting, look, direction- all are superb in depicting the sheer peril of politics where the tyrant at the centre of it all is a highly intelligent, scarily volatile and utterly caprucious monster such as Henry VIII, a tyrant of truly terrifying proportions.

As per The Private Life of Henry VIII, a film which, oddly enough, I saw only weeks ago, we begin with the horrifying juxtaposition of Anne Boleyn walking to the scaffold as Henry prepares to marry Jane Seymour the same day. This sequence alone, beautifully shot, says everything. Horrifyingly, Anne keeps looking up, to the windows of the Tower, imagining that there may be hope...

Yet much of the episode concerns the fascinating and deadly games of power. Cromwell may be at the centte of all yet, as Chapuys amusedly pointds out, he is utterly dependent on the King, with no one to save him should he falter. No wonder he is carefully writing a book on how to handle the King.

The King, at this point, seems even worse than before, seemingly contemplating the execution of his own daughter for refusing to sign the oath, yet turning on a sixpence at the end to embrace his cowed child. As for Cromwell himself... he plays such a dangerous game. At one point, when Henry seems to turn fully against Mary, he himself even acknowledges that things certainly appear bleak.

I'm going to enjoy this series so very much- telly at its best.

Batman: The Animated Series- Forgotten

 "Maybe I'll lose my memory and wake up a milliuonaire too."

Surprisingly, this is the third episode in a row without any of Batman's rogue's gallery: indeed, if I'm right, we've only seen the Joker (twice); Poison Ivy, the Scarecrow and Man-Bat, and Harvey Dent is, at this point... one faced.

Yet I'm enjoying these one offs, and this one is no exception- partly, yes, because of the fun of seeing a very nervous Alfred in the Batwing, but also because this is Alfred trying to rescue an amnesiac Bruce. Bruce's uncanny dreams are well done, too.

This one is dark, though: people who won't be missed are kidnapped and put on a chain gang, mining for ore, being put into a sweatbox if they annoy their captors. We never leaern the backstory, but I suppose we don't have to: terrible things can happen at night to the homeless and, indeed, the unwary.

And so we have the satisfying climax as Batman deals with the baddies. But yes indeed... not many of those who endure such horrors will wake up rich the following day.

The Sweeney: Cover Story

 "I think that fish fancies me".

Hmm. Good dialogue, good acting, and it all looks great- not surprising for an episode directed by the great Douglas Camfield. But... for the first time with The Sweeney, I'm not sure about this one.

It's not that the chemistry between John Thaw and Prunella Gee isn't there. It's not that their relationship isn't believable, or that the dilemma isn't real- she genuinely is mysterious: is she in league with this week's villains? And yet... well, the is she / isn't she is driven up to a point of real suspense as the rubbish tip, et, tip she leads them on turns out to be false. But the revelation that she's kosher is just... fairly flat, nothing to it. And her disappearance- leaving because Jack loves his job more thsan her- is the most horrible cliche.

Which isa pity. Great script, characterisation... but the plot just fundamentally doesn't satisfy. Good job, then, that we've got all this '70s-ness to entertain us, the world of half a century ago when journalists mattered.

I'm sure this one is just a blip.

Better Call Saul: JMM

 "No rings. Okey dokey..."

After last episode's deeply dishearening last line, we begin the last line with the world'd least romantic wedding ever, presided over by a very bored and disengaged judge. No rings, no wedding guests, witnesses who are not exactly friends, no celebration... and let's say the two new spouses are not exactly equally invested. Poor Kim. This is the wedding she gets... and this is the wedding she gets. Even worse, she really should know what she's marrying, and gets more reminders later when she realises Jimmy- no, Saul- is being forced to get Lalo out on bail and is quite happy to use this to get money. Oh, Kim...

She isn't in Breaking Bad, of course. I fear for her. Perhaps a fate even worse than ruin awaits. And she's a good, decent person.

Interestingly. Kim, the other lawyers and Kevin all reconcile, after a little brutal honesty on both sides, in a situation of genuine mutual respect. No Jimmy here: these people are all grown-ups.... and that makes the situation worse. Kim is decent, professional, respected. As Kevin says, she could do a LOT better.

Mike is a grown-up too- we see him doing the patient hard work of making amends to his family, and successfully. But the ongoing cold war between Gus and Lalo, with Nacho and his dad in the middle, is getting increasingly complex. Lalo's engaged Jimmy to get him out on bail so he can skedaddle... so why is Mike, on Gus's behalf, handing him the means to do so on a plate? Gus has reason to be furious at Lalo: I suspect the latter is not long for this world, and Gus has plans to kill Lalo in ways thst won't start a "war". The discussions with Lydia and Gus' desperate old German friend is fascinating, pointing ahead to the Madrigal stuff but hinting at quite a long history. Giancarlo Esposito continues to play Gus with such exquisite nuance.

Yet it feels very much as though big things are being set up. Despite this, the episode is as gripping as ever.

Code of Silence (1985)

 "Just like the cops. Just like the Comachos. Nobody talks. Omerta."

This is, surprisingly, the first time I've ever seen or blogged a film starring Chuck Norris, he of all the jokes about how he;s hard as nails... and also of some extremely dodgy political views: bet he voted for the tiny handed orange fascist. I suppose I was expecting some kind of cheesy B movie... but that's not what I got.

Norris' films, this one very much included, tend to be relatively obscure compared to those of his peers Sly and Arnie. Yet Code of Silence is actually a pretty damn good '80s action film. Yes, Norris plays a hard-as-nails character, but not without nuance. He can certainly act. Andrew Davis gives us a stylishly directed thriller with fights, car chases and set pieces before, showing off the Chicago setting superbly.

Yet the plot, character and themes elevate this a little above that,despite the very '80s incidental music and the silly robot,about which the less said than the better. We have a "war" between the local Mafia family and the local Colombian meth lot, both with their own code of silence. Yet into this mix we also have a mildly corrupt police force who protect one of their own who kills a suspect in cold blood, their own code of silence.

Having Norris play a truly incorruptible cop who refuses to goalong with this, therefore meaning he's on his own and his fellow cops won't back him up, is powerful. The plot is clever, satisfying and generally a cut above what one might expect, while the thrills are very much present. An unexpected gem.

The Gorgon (1964)

 "It never ceases to amaze me that the most noble work of God, the human brain, is the most revolting to the human eye.

It's been a while since I've blogged a Hammer horror- partly, I admit, because a lot of the remaining ones are sequels that have to be acquired and seen in the right order, but partly because, well, there are only so many left. 

Still, this is one of the more well-known ones that I hadn't hitherto seen, and it has a stellar cast, from Christopher Lee as the intellectual hero with, er interesting hair to Patrick Troughton as a Prussian policeinspector complete with spiked helmet. But the realstand-out performance is from Barbara Shelley who, despite the many charismatic figures on screen, carries this film.

There's a very nice twist towards the end, and a nicely done red herring. The effects for the Gorgon herself are... well, a bit pants, which is a shame, because the plot is clever and the conclusion highly effective and satisfying aside from that... although surely Professor Meisner ends the film about to be arrested for the apparent murders of Carla and Paul?

It's a melodrama, of course, with all that implies... but that's Hammer for you. With the one excaption of the gorgon itself the film looks superb, the script is captivating and clever, and the cast is one of true Hammer royalty. This is truly one of the highlight's of Hammer's most fertile period in the mid-'60s. Hugely enjoyable.

Agatha All Along: Maiden Mother Crone

 "I do tend to... kill my coven members."

I suppose, in terms of bare plot, and certainly in comparison to recent episodes, what happens in this finale is quite simplle. We see a pregnant Agatha in the 1750s with her son Nicholas Scratch, wandering around killing witches to survive. Yet Death was supposed to take Nicky at birth. She grants Agatha what turns out to be six extra years, but in the end (and, as a parent, on balance I agree) it's more heartbreaking to lose a child of six than a newborn you had never known.

So this is the truth of what happened in the past... although how Agatha came to become Death's lover (like Thanos!) is not explored. Yet, perhaps not surprisingly after last episode... the Witch's Road was a lie, born ofva song she devised for Nicky and turned into a myth intended only as a trap for her witch victims. Agatha was as surprised as anyone when this time the Road appeared... but it was all Billy.

So that's it. Otherwise it's all character- Agatha bonding with her son in 18th century colonial America while cheerfully being a serial killer of witches. How Billy reminds her of her son, hence the fondness. How she would have killed all the witches anyway... but Jen (the only actual comics character!) survives... is she now  going to meet "Ted"?

Not, perhaps, the greatest finale ever, but I enjoyed it. And, as Joss Whedon once did in Buffy, it's brave and iteresting of Jac Schaeffer to allow the penultimate episode the true mantle of finale.

Deadpool & Wolverine (2024)

 "Because I'm Marvel Jesus. Or Spock. Hard to say..."

I knew this was going to be enormous fun, and oooooh, it was. Both the stars are superb, and sooooo many cameos, many of them hidden behind Deadpool masks. I'm not going to talk about the plot because irt's bonkers: I mean (SPOILER ALERT) Deadpool and Wolverine, having saved Deadpool's universe for good, get to survive certain death by anti-matter because, er, they were holding hands to Madonna. That's the kind of cheerfully deliberate middle finger at plot logic we're looking at here. I mean, did you expect anything different?

So we have a rogue element of the TVA trying to recruit Wade to the MCU, while saying a fond farewell to the old Fox mutany universe- I loved that bit in the closing credits. The Big Bad (Emma Corfrin is great) Is Professor X's evil sister, and her goons are the likes of Pyro, Toad and Juggernaut. There's a hilarious appearance by Chris Evans, surely Captain America until he cries "flame on!" and an equally hilarious version of Gambit with Channing Tatum, pulling no punches at how ridiculous the character is.

And ahh, all those Deadpools. Love the unfortunate death of Nicepool, and yes... I did indeed notice the "Welshpool" visual joke.

Naturally we get hard-hitting, fourth wall breaking comments on the MCU, that Deadpool is not coming to the MCU at a good time, and his criticism of the Multiverse Saga. But there's far more than that. The 20th Century Fox logo is there in the void. Wesley Snipes' Blade gets to insist that "There's only ever been one Blade, and there's only ever gonna be one Blade", a delightful little comment on behind-the-scenes discord. Oh, and "Paul Rudd finally aged".

This film is, basically, not about the plot at all. It's just there to be hugely entertaining, and to throw cameos and in-jokes at us... and it works! I love the various alt Wolverines, from the comic book accurate short king to Patch to the Siege Perilous era crucified Wolverine. I love the Henry Cavill cameo and the little rib at DC. And of course Colossus loves The Great British Bake Off.

Basically, best Marvel film ever. And now I'm going to check out all the many Easter eggs I no doubt missed...

Better Call Saul: Wexler v Goodman

 "Because it's cold pizza fondled by community actors..."

For the first time, the pre-credits shows a small episode from Kim's childhood: she refuses to get intothe car with her mother, who's been drinking, and bloody well sticking to her principles, even back then. Not hard to see what the subtext is here. Kim has her strong moral principles. We know that. But alas, she seems to be in love with Jimmy for some reason, and I'm sticking to my own guns: Jimmy will be her ruin and her downfall.

Bizarrely, we then see a young Kevin in an old Mesa Verde commercial, zand get a long montage of Jimmy trying to film stuff in his plot against Mesa Verde, getting stuck in to the writing, the directing, anything but lawyering... and along comes Kim. She wants out, unnerved by Rich's suspicions. It's gone too farand she's even willing togive some of her own money to the old man so there can be compromise. And... Jimmy agrees, so that's that, right? I mean, it's not as though he's the unscrupulous type, right...?

We then shift to Nacho who, like Kim, won't be in Breaking Bad. But with him, I suspect, we're looking at literal death. He simply lives too dangerously, inforning Gus and Mike of what Lalo is up to... and wow, as ever, Gus isquite the presence. It looks as though we'll see a lot of Mike and Nacho together from this point. Lalo may appeal to Mike's morals... but, of course, Gus owns Mike. We're so far into Better Call Saul at this point that the nuances between all the characters are utter perfection.

And so cue another series of scenes where we get to see how Mike operates, this time manipulating a librarian and the local police into dropping Lalo right in it... ending in what looks like Lalo's arrest. Nut this, I suspect, is a mere opening skirmish. I note that Lalo has a pet lawyer... although, of course, on this occasion, I use the word "lawyer" in its loosest possible sense.

Still, yes, there's an interlude of Jimmy being an utter **** to Howard but, as the episode comes to an end, it looks as though Kim's going to get her was with Mesa Verde... and then Jimmy REALLY goes for the kill, harassing Mesa Verde to the max, and Kim is furious, very visibly so, to be thrown under the bus like this. This threatens to have dire consequences for her, despite her very visible and real anger.

Kevin, incidentally, has a very clearidea of exactly what Jimmy is, and he certainly isn't a lawyer.

Finally, we have the confrontation. Kim really laying into Jimmy and there's a sense that even he may now realise that he may have gone too far. Is this it? Kim is beginning to sound like he might dump him, as she should have done long ago....

"Maybe we get married".

Oh Kim....

Obviously, this is televisual perfection. Yet again.

The Private Life of Henry VIII (1933)

 "

I wasn't surprised to see that this film is very, very good- the director and the star meant that would always be likely. What did surprise me, however, is how funny it is- and how relatively frank about sex- in a humourous way, yes, but this is hardly picture postcard humour.

Charles Laughton is, of course, definitive as Henry, with both his performance and the acript showing him as merry yet dangerously capricious. Intelligent, cultured, yet the ultimate spoiled brat, self-indulgent and able to turn on a sixpence.

Yet the film plays this largely for black humour, downplaying religious matters entirely, as well as foreign affairs... although Henry is made to say that "If those French and Germans don't stop killing each other then Europe will be in ruins"- hard not to see as a comment on the Europe of 1933, a decade and a half after the Great War and with Hiller yet to burn down the Reichstag.

I laughed out loud as the opening blurb dismissed Catherine of Aragon as being of "no particular interest", the opening scenes set on the day both of Anne Boleyn's execution and Jane Seymour's wedding to Henry, leaving us in no doubt whatsoever what a callous man he is, with scenes of Anne bravely facing her last couple of hours juxtaposed with Henry and Jane being frivolous... and Henry cynically sees Jane as a "stupid woman".

He is, again, callous as Jane dies in childbirth, caring only for his baby son. Yet the film focuses on the contrast between Anne of Cleves, who plays the game cleverly and ends up divorced, alive and rich... and the true tragic focus of the film, Katherine Howard, whose eagerness to court the king and have a crown eventually results in being trapped into a marriage to an old man, followed by her inevitable doom. These moments are dark, although it is not dwelt upon here that young Kate was only nineteen.

A superb, witty, funny, dark and tragic script all in one, and a strong overall cast with Charles Laughton giving the performance of his life. This is one of the triumphs of early historical sound cinema.

Stargate (1994)

 "There can be only one Ra..."

I've never seen any of the subsequent telly series, but I have seen this film before, back in the '90s, hiring it from the local video shop. I enjoyed it then... and I absolutely adore it now.

I'm told there were all sorts of behind-the-scenes headaches for the film, it wasn't expected to do well, and it was a massive surprise when it turned out to be a huge hit. Yet it's simply very good, a very '90s twist on Erik Von Daniken with Egyptian gods as ancient aliens, with a superb and well-placed plot, a brilliant series of concepts and very strong central performances from James Spader and Kurt Russell. 

The visuals, the aesthetics of the gods are awesome. The first sight of Horus is well-shot and effective- and it's a surprise to find him being played by a young Djimon Hounsou. The pyramids, the three moons in the sky... the visuals are as good as the plot.

The whole thing is very much plot-driven, and the conceit of seeing everything through the eyes of Daniel Jackson works well, as we are introduced to the backstory of the Stargate at a point where the authorities are on board and plans already laid.

Yet there is humanity too. Both Daniel and Colonel O'Neill are three-dimensional, flawed but ultimately good people, and the people enslaved by the "gods" manage to seem like real and likeable people despite speaking an unknown language. And the ending is deeply satisfying.

This is simply a great concept, executed superby. That's why it's a great film.

Agatha All Along: Follow Me My Friend / To Glory at the End

 "So, Agatha's ex is death".

"That also makes sense..."

Wow. So much happens here in forty-odd minutes. Agatha All Along has been a slow burn, but these last episodes, with all the cleverly set up reveals, have been incredible.

So Rio (reference to the River Styx or summat?) literally is Death: we see Alice meeting her at the moment of death, incredulous that she should die now, upon the lifting of the curse, in a scene very reminiscent of similar scenes in Sandman, although we don't talk about Neil Gaiman these days. We also see some very cool subtle skull effects on her face, which is nicely done.

But wow.I mean, Agatha passes the last trialon the Witch's Road- just- but this is almost an afterthought. We discover that it was Agatha who bound Jennifer, and she is thus able to rather dramatically unbind herself. It's hinted that Agatha did not do the terible things to her son Nicky that everyone supposes, but istaking on the opprobrium to avoid something worse- for next episode, no doubt.

Then we have the episode-long  see-sawing of whether or not Agatha will betray Billy. She doesn't, she does... and then she doesn't, seemingly dying for him.

Yet the end- so clever, with all the elements of the Rosad being within Billy's bedroom- seems to hint that bigger and even more fundamental reveals are to come. Wow.

One more to go...

Batman: The Animated Series- P.O.V.

 "I guess Batman must have gotten a second wind after Detective Bullock dragged him out, because he was in rare form!"

I'm increasingly enjoying not only the subtle '40s style of this series but the fact that the titles being shown on screen is clearly intended to evoke movie serialds. There's a lot of clever stylistic touches thatI'm increasingly coming to appreciate, and the animation continueas to be superb.

But... Batman: The Animated Series does Rashomon. In twenty minutes. And it's superb.

I love how Bullock's low level dodginess is contrasted with the earnestness of Montoya and her fellow rookie but, more than that, with the depiction of Batman as he appears to these overawed young cops. At first I wondered whether Batman would get to speak at all but, of course, he does, as he and Montoyatake down the baddies together.

I simply love the mood of this episode- very noir. This is, let's admit it, not a good day- the next American president is going to be a terrifying fascist, not good for Ukraine and by extension Europe, for the climate emergency, for the very notion of the "West", for decency or, indeed, the freedom of the orange fascist's own country. But good art has its consolations and so, in its small way, is the case here.

Agatha All Along: Death's Hand in Mine

 "We can be culturally offended later..."

Yeah, I know. They're all dressed like famous witches from popular culture- Wicked Witch of the West, Maleficent, etc... but they do have the tendency to be the Disney versions, don't they? Gosh, I wonder why that is.

Grumbling about the corporate cultural appropriation of folk culture aside, this episode is a thing of genius from the beginning to that wonderful and highly appropriate Jim Croce song at the end, as Lilia's entire life goes full circle. The little apparent lapses from Lilia suddenly make sense as we follow the conversation from her own, very timey-wimey perspective. It's so sad: she only gets to find fulfilment and purpose just before she dies. But wow, what a triumph, what a character and what a tour de force from Patti LuPone.

Also... Rio is literally Death? As in Thanos' lover Death? And... she's Agatha's ex? Wow. We get a lot of minor answers here- Lilia cast the sigil- but that's quite the reveal. What's her angle, and is she going to be showing up in all sorts of other contexts?

Overall, though, this is near perfection. The superb sets. the gleefully cliched trial. And the funny, tragic and incredibly clever script. Wow.

Raw Deal (1986)

 "You should not drink and bake."

…Or, indeed, shoot and drive. Please, any drivers reading this: keep your eyes on the road (or quarry). Engaging in a gun battle with the goons of an entire Mafia family can impair your driving concentration, even if, like Mark here, you also come armed with prodigious quantities of plot armour.

I must be close as dammit to having blogged all the '80s Arnie action movies, so here's another one. And it's good, it's fun, like all movies of this ilk. It isn't the greatest action film of all time, but it doesn't have to be. The action set pieces are great. Sam Wanamaker is also great as a Chicago Mafia boss, and Robert Davi is exceptionally good, as ever, as Max. But Arnie, in his first real role with lots of proper dialogue, just oozes so much charisma.

The film really showcases Chicago as a city, too, as all the suspense and action takes place. Admittedly the final scene is very Saturday morning cartoon, and the film nicely reminds us that two bottles of champagne in one sitting is perhaps not great for one's sex life. But then, of course, the plot mustn't allow Mark to sleep with the rather lovely Monique, lest he commit adultery with his rather unpleasant, cake throwing wife.

Still, the flaws of this film are all partr of the fun. Highly recommended if you just want to switch off your brain and watch some '80s action with car chases and shooting galore.