Sunday, November 23, 2014
I just wanted to take a moment and apologize for my recent in-activity on this blog. I have been very busy lately and as much as I would like to keep the blog up-to-date, I simply haven't had the time.
I cannot say with certainty how much time I'll be able to devote to posts over the next few months, but I will try my best to post a few reviews and thoughts whenever I have the chance. There's a few things on the horizon which I hope to devote some time to.
So, in all, don't lose faith dear readers - though my output may not be as tremendous in the past, I have not forgotten my blog. I hope you check back periodically as I do have a trick or two up my sleeve.
Monday, November 10, 2014
Warning - This review will contain spoilers!
Well, another season of Doctor Who has come to an end. How did the finale, a two-part story scripted by showrunner Steven Moffat fair and how it stand up against the rest of the series? How did Series 8 fare compared to the other seasons of the show and what of Peter Capaldi? I hope to answer all of these questions in the following review, so without further let's dive right in...
Distraught over the death Danny Pink (Samuel Anderson), Clara (Jenna Coleman) almost incapacitates the Doctor and his TARDIS by throwing the time machine's seven keys into a volcano. Seeing how far she would go to save the man she loved, the Doctor (Peter Capaldi) takes Clara to 3w, a mysterious institute fascinated with death. The Doctor comes face to face with Missy (Michelle Gomez), the strange woman who has dogged his heels throughout the series, and together they manage to contact Danny in heaven. No sooner have they accomplished this does the Doctor learn that 3w is harboring Cybermen and Missy is in actuality his arch enemy, the Master! With the future of planet Earth hanging in the balance, the Doctor will have to use UNIT to save the day. But at what cost?
When it comes to two-part episodes like this, I tend to find one portion to be better than the other. Here, Dark water/Death in Heaven managed to remain consistent throughout. I must applaud Steven Moffat for keeping the tone the same throughout the two episodes, even when plot twists are introduced and the scale becomes much grander in the second half. I do not hesitate to say that these two episodes have been two of the darkest episodes in Doctor Who's recent history, dwelling on subjects like death and the afterlife, rather taboo for a children's show. However, I found it to be quite compelling and original. I would be lying if I said I wasn't drawn in - especially by the episode Dark Water which had to lay on the mystery extra thick.
|The Doctor and the Master - or is Mistress?|
Also of particular note was Michelle Gomez as Missy. When it was revealed she was in fact the Master at the end of Dark Water, I wasn't quite sure what to think. (Not to sound too narrow-minded, but I have never been a big proponent of the whole gender swapping thing.) I reserved my judgment and I must say she did an excellent job. Gomez communicated a sense of the Master's true deranged character in a cold, quiet manner which was far more successful than John Simm's scenary-chewing attempts when he played the character. It wouldn't be too outrageous to liken Gomez's Master (Mistress, whatever) to Anthony Hopkins' Hannibal Lector; speaking quietly and delivering a genuine chill up the spine.
While the scripts for Dark Water/Death in Heaven fared well for Capaldi and Gomez, it fell rather short when dealing with the companions. Jenna Coleman delivered her usual fine performance but it seemed like the independent nature of Clara's character became a bit too outrageous when she virtually kidnaps the Doctor and nearly destroys the TARDIS. What's more, this scene, which really goes nowhere, was hardy linked to the rest of the episode. Samuel Anderson, who usually gave a pretty decent performance in the past, seemed rather flat here, especially once he's been turned into a Cyberman. I don't want to bash too much on the script - especially since it did afford Capaldi one of his greatest Doctor moments; skydiving from a crashing airplane without a parachute, tearing a page from James Bond's playbook in Moonraker.
As I said at the top of this review, both episodes of the finale fared equally. Therefore, I give them both 3.5 out of 5 stars. So, in all, how did Doctor Who series 8 fare? Rather well. It featured some truly excellent episodes, but a fair share of mediocre ones. I'd say the series did afford Peter Capaldi a nice introduction and I look forward to his future in the role.
Monday, November 3, 2014
Going over the plot of the graphic novel may be a little redundant as it more-or-less follows Doyle's original but also manages to weave the plot of The Speckled Band into the mix. Despite this, this particular graphic novel may be a little surprising for the more ardent Doylean. The tone of this retelling is quite light and fun, bordering at times on outright parody. Sherlock Holmes and Dr. Watson aren't above exchanging banter and getting into petty squabbles. One particular scene found the detective strong up from the ceiling of 221b hanging by his feet testing a theory. Aside from the fact that there's something overtly Robert Downey Jr. about the panel, it was actually quite funny, especially as Watson enters the sitting room, only to find his friend in a most unusual situation.
|Holmes as drawn by Petr Kopl|
There were also a number of interesting asides and references to outside works to make this reader's eye widen. Phileas Fogg, the hero of Jules Verne's Around the World in Eighty Days makes a cameo appearance, and Watson becomes a member of the former's exclusive club. Mata Hari is also referenced (this comes as something of a funny twist come the comic's end) as are both Dr. Jekyll and Mr. Hyde. These touches, though enjoyable, were something of a distraction from the overall narrative and with the inclusion of Frankenstein's Monster into the mix (yes, Frankenstein's Monster is in here too) one began to feel that the writer's tongue was planted a little too firmly in his cheek. That's not to say this was a drawback just something of a stylistic surprise.
In all, A Scandal in Bohemia was a fun, very entertaining read. As far as Sherlock Holmes graphic novels go, it fared quite well I think. I do not hesitate in recommending it to fellow Sherlockians, and seeing as Petr Kopl has authored other Sherlock Holmes graphic novels in the same vein, I would be interested in taking a look at those too. I award A Scandal in Bohemia 4 out of 5 stars.
Friday, October 31, 2014
The 1979 version began life as a revival of the 1920's stage play which had originally starred Bela Lugosi. The show was performed both in America, where Frank Langella took the role of the vampire, and in Britain where Jeremy Brett took on the role. The play, featuring sets designed by famed illustrator Edward Gorey, was a tremendous success which eventually spawned a film version. In the director's chair was John Badham, whose last directorial job prior to filming Dracula was Saturday Night Fever! However Badham managed to create a truly awe-inspiring atmosphere for the film. It's a beautiful film to watch.
Many reviewers today complain that the latest DVD (and blu ray) releases have drained all of the colour from the film. This is true, but the result is brilliant. The re-coloured DVD adds tremendously to the overall atmosphere, accentuating the bleak nature of the story. What's more, when there are scenes of vivid colour, there is a greater contrast (like the controversial vampire wedding with lasers and the brightly-lit climax). The action is also updated to 1913 which gives the characters the opportunity to inhabit a stylish Edwardian world.
Of course taking centre stage is Frank Langella's Dracula. Langella performs the role in the vein of Bela Lugosi - a cool, hypnotic vampire. However, Langella doesn't perform with the same theatricality which Lugosi did which makes this Dracula all the more creepy and manipulative. Langella's subtly-played Dracula makes him seem eerily alone and humane - a point which is accentuated by changing the now-famous line of dialogue to "Listen to them, children of the night...what sad music they make." To play off of Langella's Dracula is Kate Nelligan's Lucy. Nelligan's heroine is a strong, independent character which makes her falling to Dracula's will all the more creepy.
|Frank Langella - best Dracula of them all?|
The rest of the cast compliment Langella and Nelligan nicely. In the role of vampire hunter Van Helsing was the great Shakespearean actor Laurence Olivier. While it could be argued that Olivier was slumming it in this horror film, Olivier delivers a strong performance, and the script afforded the actor an interesting acting opportunity as Van Helsing becomes the father of one of Dracula's victims. Donald Pleasence lends some light comic relief to the film in the role of Dr. Seward and Trevor Eve plays a likable, sympathetic Jonathon Harker.
In all, the 1979 version of Dracula is underrated, but something of a minor masterpiece in terms of Dracula adaptations. However, one thing stood out the most while working on this review series - each of the five films I selected were totally different from one another, so in terms of favourites, Dracula films are perhaps the most subjective. If you're partial to classical theatricality, faithful surrealism, atmospheric evil, blood-and-thunder bombast, or stylized melancholia, one of the five films I selected should appeal to you.
We've come to the end of this review series. If you liked these reviews or believed I left out a particularly good version (or take umbrage with my constant Francis Ford Coppola bashing), then feel free to leave a comment. Happy Halloween!
Sunday, October 26, 2014
Warning - The following review will contain spoilers...
Doctor Who Series 8 has brought on another new writer. This time it's Frank Cottrell Boyce, a famed author and screenwriter known for his magical fantasy stories, including his sequels to Ian Fleming's Chitty Chitty Bang Bang. His debut for Doctor Who entitled In the Forest of the Night was hyped as putting the Doctor in a powerless position. Does it ring true? Let's take a closer look...
Over night a forest has sprouted up across the entire planet Earth. Clara (Jenna Coleman) and Danny Pink (Samuel Anderson) are left to take care of a group of children from the Coal Hill School. However one of them, a mysterious girl named Maebh (Abigail Eames) has disappeared, only to turn up outside the TARDIS uttering cryptic messages. Lost in the forest, will the Doctor (Peter Capaldi) be able to discover what caused the forest to sprout up?
Boyce's assertion that the Doctor would be powerless in this episode was rather accurate. Armed with only his sonic screwdriver (which doesn't work on wood), the Doctor has very little to go on as he tries to solve the mystery. This was an interesting opportunity to see the Doctor in a different light and Peter Capaldi, as always, rose to the challenge. It's no exaggeration to say that Capaldi was the best thing about the episode - the vein of sarcastic, dark humour which was so prevalent in last week's episode carrying over.
|Abigail Eames and Peter Capaldi|
But, the episode cannot stand only on its visual merits. The acting was on a whole was good from the ever reliable Jenna Coleman and Samuel Anderson. The child actors, who have had a hit-or-miss track record in Doctor Who, fared well enough. But, none of them could conceal the heavy-handed dialogue in the script. This was without doubt the episode's being downfall with a "save the environment" message not-so-subtly weaved in. The dialogue between Clara and Danny seemed too contrived at times and the children's dialogue was cliched and unreal. I never thought I'd here talk about selfies in Doctor Who. The most poignant moment was when the Doctor, trying to convince Clara he should stay on Earth, told her "This is my world too. I walk your Earth. I breath your air." These are the exact same words which Clara used when telling the Doctor he should leave the planet forever in Kill the Moon. It was sadly a throw-away moment, likely written into the script by showrunner Steven Moffat.
So, In the Forest of the Night managed to succeed on atmosphere and acting but the heavy-handed plot and dialogue brought down an otherwise original, interesting premise. In the Forest of the Night is unfortunately the weakest episode of Series 8. I give it 2.5 out of 5 stars.
Friday, October 24, 2014
I have already had the chance to review this remarkable film once before on this blog as part of Peter Cushing Month last May. I encourage you to click here to read that review as I'll be filling in some of the gaps from that previous review.
Of course the main attraction in the film is Christopher Lee's Dracula. Interestingly, the vampire count is side-lined for much of the film and in fact he has only sixteen lines of dialogue and speaks to only one character. However, Lee's Dracula pervades the remainder of the movie, making the most of his limited screen-time. Lee's Dracula is perhaps the most animalistic ever committed to the screen, his red eyes perpetually blaring and his fangs dripping with blood. Seldom has Dracula been so unnerving and creepy, and certainly far-removed from the debonair, well-cultured Bela Lugosi of the 1931 film.
Of course the other high point of the cast is the ever-welcome Peter Cushing as Van Helsing, vampire hunter extraordinaire. Of all the actors to play Van Helsing who has appeared on this list (including next week's choice), Cushing is perhaps the best. He's the most far-removed from Stoker's original conception, but Cushing's athletic and quick-witted Van Helsing makes for an excellent hero, and also sometime of a prototype for his fantastic portrayal of Sherlock Holmes. Cushing and Lee contribute greatly to the sense of bombast which runs all the way through the film. The final act in particular are a series of chases and fights which keep the film's energy up to the brilliant, awe-inspiring conclusion.
|A study of red-eyed ferocity|
Next was Dracula Has Risen from the Grave. The film is probably the best-looking of Hammer's Dracula movies; scenes wreathed in fog and coloured filters which lend an eerie, fairy-tale like quality to the film. The next, Taste the Blood of Dracula is my personal favourite Dracula sequel. Lee's Dracula has the smallest role of any Dracula film, but it's a well-mounted, visually-stunning film and surely the nastiest sequel thus far. It's also the turning point in the Dracula series as the films which followed dropped in quality. Arguable the lowest point in Hammer's series was Scars of Dracula which tried as hard as possible to compete with the increasingly gory horror films released in America, but the effort was in vain and what transpired is a plotless, unsatisfying film. Hammer decided that Gothic horror was no-longer in vogue in the early-'70's, so the studio transported Dracula into the 20th century with Dracula A.D. 1972, a fun film made cringe-worthy by the dated '70's references (I never thought I'd hear dialogue like far out and groovy in a Dracula film). The last film, The Satanic Rites of Dracula combined vampire lore with spy thriller and science fiction, but ultimately failed to succeed.
Though some of Hammer's sequels are entertaining in their own right, none can eclipse their brilliant first effort. Peter Cushing and Christopher Lee head a strong cast in an exciting and creepy version of Bram Stoker's novel. Check back next week as I celebrate Halloween with my favourite Dracula film, perhaps the most stylish and atmospheric version ever committed to film.
Sunday, October 19, 2014
Warning: The following review will contain spoilers
After last week's episode Mummy on the Orient Express, I was excited for another installment to be penned by the same writer, Jamie Mathieson. But one or two things made me a little nervous - could Mathieson deliver a script of the same high calibre, and it seemed as though the episode was going to be Doctor-lite, coming in the midst of an already companion-heavy season. Did Mathieson's second episode Flatline deliver the way his first did? Let's find out.
The Doctor (Peter Capaldi) and Clara (Jenna Coleman) arrive in Bristol to find something is very wrong. People have been disappearing throughout their town, their visages appearing on the walls of a tunnel. All the while, the Doctor is trapped inside the TARDIS which has inexplicably began to shrink on the outside. It seems as though an alien race has invaded the planet, draining the power from the Doctor's time machine and causing the mysterious disappearances. With the Doctor more-or-less out of commission, it's up to Clara to save the day.
Like his last episode, Mathieson's Flatline had a very interesting, original premise. The alien threat, a new one, who trap people in one-dimensional surfaces were very creepy and the scene in which they manage to ensnare a police constable was chilling and intense. The production design also managed to bring the creatures vividly to life as they took three-dimensional form and chased the heroes through the train tunnels.
Peter Capaldi was in excellent form as the Doctor. I do not hesitate saying he gave his finest performance in this episode. He managed to combine his usual intensity with a vein of sarcastic, sharp humour. The fact that he was confined to the TARDIS control room for almost the entire duration did not limit his performance at all. Capaldi is arguably the best actor to have taken on the role of the Doctor in some time and each episode further justifies that point. Jenna Coleman also did well as Clara. Luckily, the episode wasn't too centred on her as Clara has really taken centre-stage on three separate occasions this series. While she did play an important role again, the script managed to keep the Doctor in a role of authority.
In all, Flatline had an original premise and good performances, but the execution did leave something to be desired. While not a bad episode, I wouldn't say that it was a series highlight. I give Flatline 3.5 out of 5 stars.
Coming Next Week - In the Forest of the Night by Frank Cottrell Boyce