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TIME TO SAY GOODBYE – DR WHO – SERIES 10 REVIEW

TIME TO SAY GOODBYE – DR WHO – SERIES 10 REVIEW

TIME AND RELATIVE DIMENSIONS IN SPACE

I love Doctor Who and have written many times about it on this blog with reviews and articles. I think what I love about it most is that within the genre structure of a Time Lord and companions doing battle against foes is the fact that you can end up anywhere in time and space; in scientific reality and magical fantasy. Each episode contains surprise and mystery and imaginative ideas which draw you in again and again. So, here I go with a review of the at times completely genius, occasionally so-so, but mainly brilliant entertainment that is Season 10. If you also wish to read last season’s review please do so here.

SPOILERS AHEAD, DARLING

Couple of minor gripes before I start!  Please stop with the preview spoilers BBC!  There were too many dramatic surprises within the series given away across the TV screens and T’internet. Firstly Capaldi’s departure from the show AND John Simm would be coming back as The Master. Oh, and the origins of the Mondasian Cybermen was revealed too giving away another surprise from the exceptional double-headed finale. Lastly, now Chris Chibnall is to take over from Steven Moffat as showrunner, I hope he’ll dispense with the incessant characters dying and coming back to life trope. This has now literally been done to death. However, putting these minor grumbles aside I was very entertained by the season overall.

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WHAT’S IN THE VAULT?

When the commanding character actor, musician, director and writer Peter Capaldi was announced as the new Doctor Who a few years ago, I was very excited. Here was an experienced actor full of gravitas, energy, wit, light and dark humour, who would no doubt bring his own vision to the role of the ancient Gallefreyan. And I was not disappointed at all!  I really loved Capaldi’s Doctor because he was very rounded and in his face you could see the years of time-travelling experience. And wow – can he deliver a grandstanding monologue too!

In Season 10, he was meant to be anchored to Earth guarding the Vault, having taken an oath to ensure Missy/The Master does not escape. Instead he attempted to redeem Missy – portrayed with devilish brio – by Michelle Gomez. Did he succeed? Well, it’s open to interpretation. Nonetheless, this story arc was way more convincing and emotional than Season 9’s confusing “Hybrid” arc. In fact, I’d say Steven Moffatt nailed the dramatic arc and emotion on this one.

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THE NEW FACES

The Doctor, as well as looking after the Vault, found two new companions in tow. They were Bill Potts, played with a wide-eyed and naïve charm by Pearl Mackie. We also had a former rogue-but-now-kinda-sweet cyborg called Nardole, portrayed by the brilliant comedic actor Matt Lucas.  In a terrific meta-gag from Steven Moffat, during World Enough and Time, Missy called them “Exposition” and “Comic Relief”; however, I think they were a bit more than that.

As usual the audience were reflected in Bill’s character as her initial wide-eyed and open-mouthed awe at the Doctor and the Tardis’ capabilities gave way to an awe and wonderment at the space adventures that ensued. Bill proved herself a valuable sidekick to the Doctor. She had a kind soul and there were some emotional pull to her due her being an orphan, plus being gay created an extra dynamic in the storylines as well as some humour too.

Nardole, on the other hand, was mainly played for laughs as he had some fantastic banter with the Doctor. Lucas did not go over-the-top wacky though and gave Nardole a world-weary trudge and set of grumpy looks and fine one-liners. At the same time he remained very loyal to the Doctor and really came into his own in the latter episodes when his hacking skills were used to combat the Cybermen.

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THEMES

Thematically this season of Doctor Who was very strong. Of course the Doctor remained stalwart in his world view of protecting the oppressed against evil. But he also had a redemptive plan where Nardole and Missy were concerned. Reading between the lines it appeared Nardole had a shady past so the Doctor employs him to do right by his oath to guard Missy in the Vault. Missy however, was a more difficult proposition and during Extremis it is revealed the Doctor saves her from death, with a view to redeeming her soul. This theme plays out really well within the individual episodes, especially in the wonderful denouement of The Doctor Falls where Missy and her older self, The Master (fiendishly portrayed by John Simm) join forces against the Doctor; only for Missy to kind of atone and attempt to join the Doctor in the fight against the Cybermen.

Love was another powerful emotion and theme to pervade the season.  The Doctor’s love for, or at least yearning for the childhood friendship he had with Missy/Master shone through during those final episodes. Bill’s love for her deceased Mother was palpable too, playing a big part in defeating the Monks in The Lie of the Land. Also, it was Bill’s love for Heather during the The Pilot episode which eventually saved her and the Doctor from certain death during The Doctor Falls. It was a big leap of faith in the storyline to believe this substantive narrative call-back, but I think it really worked and I was pleased Bill survived. What becomes of the Doctor we shall see?

The episodes generally were very strong and Doctor Who also gave some terrific social commentary in between the monsters, robots and general temporal trickery. Thin Ice critiqued racism, while Oxygen did the same with corporate greed. Rogue landlords and the student life were satirized in Knock Knock and most powerfully religious, medical and military control were examined and disparaged during the trilogy episodes: Extremis, Pyramid at the End of the World and Lie of the Land. Visually the show was also very striking with agricultural, urban and futuristic locales merging with some wonderful beasts, humanoids, robots and space zombie foes. Thus, overall, in my humble opinion, it was a very impressive and rich raft of Doctor Who episodes.

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EPISODE REVIEW AND RATINGS (with more SPOLIERS)

  1. THE PILOT – Steven Moffat

This was a terrific opening episode full of fine sci-fi and fantasy concepts which established a melancholic desire for belonging and love across the stars. Bill meets the Doctor and is pursued by a strange alien force in oil form and we see the Vault for the first time. (Mark: 8 out of 10)

  1. SMILE – Frank Cottrell Bryce

Bill and The Doctor visit an Earth colony run by Emoji-faced robots which somehow had been programmed to treat grief and depression as a disease. A beautifully designed other world setting mixing future and agricultural landscapes is the strength of this episode. The Bill and Doctor dynamic also developed very nicely too.  (Mark: 7.5 out of 10)

 

  1. THIN ICE – Sarah Dollard

Set in London 1814, the story found a nasty English Toff exploiting a beast below the iced river of the Thames for super-fuel. Bill discovers the Doctor is not a stranger to death and as a critique of the racist and prejudicial nature of the upper classes the episode works very well. (Mark: 8 out of 10)

 

  1. KNOCK-KNOCK – Mike Bartlett

Strange landlords, cockroaches and a house that eats people are the dangers that face Bill and her flatmates in this episode. David Suchet is on excellent form as the antagonist compelled to keep his Mother alive in a touching reveal at the story end. Capaldi’s Doctor is kind of in the background but, of course, comes to the fore when danger strikes. (Mark: 8 out of 10)

  1. OXYGEN – Jamie Mathieson

This was a terrific episode set on a space station where the air is literally paid for by the breath. Space zombies run amok as the Doctor, Bill and Nardole join a panicked crew into battling both monsters and a capitalist algorithm hell-bent on increasing profits. It’s full of great space mechanics, plot twists and race-against-the-clock excitement. Plus, the biggest gut-kicker is the Doctor goes blind; and the ramifications are very dramatic in later episodes. (Mark: 8.5 out of 10)

 

  1. EXTREMIS – Steve Moffat

This was a tricksy episode because, amidst the Doctor’s blindness, we also got the Doctor saving Missy from a fate worse than a fate worse than death. We also got The Monks who, similar to the skull-faced Silence were a religious baddie determined to take over Earth. It was wonderfully crafted with a fine Monty Python “Killing Joke” homage and convincing critique of organised religion and suicide cults. Arguably the simulacra-twist at the end undermined the drama a tad, but on second watch it was a very clever and well-written episode. (Mark: 8.5 out of 10)

  1. THE PYRAMID AT THE END OF THE WORLD – Peter Harkness and Steven Moffat

Following on from the religion heavy previous episode here the writers took a swipe at the military and the scientific folly of humanity. The Monks now reveal themselves openly and clearly to the world and that they will save the Earth from a biochemical catastrophe. The most powerful aspect of this episode is Bill’s decision to save the Doctor’s sight even though it means the Monks gaining control. Here the emotional power of the script was impressive and Capaldi was awesome in both wit and gravitas. (Mark: 8 out of 10)

 

  1. THE LIE OF THE LAND – Toby Whithouse

The Monks trilogy came to an end with the world plunged into a dystopic Big Brother style mind-controlling of stupid and gullible human beings. The Doctor has sided with the Monks and Bill and Nardole must track him down to attempt a reversal of fortune. Again Bill is at the centre of the emotion here as Pearl Mackie delivers a fine dramatic performance. Safe to say the Doctor and Bill’s love for her mother defeat the Monks somewhat fantastically but a strong denouement nonetheless. (Mark: 7.5 out of 10)

 

  1. EMPRESS OF MARS – Mark Gatiss

A meta-mish-mash episode from Mark Gatiss, as Zulu meets the Icemen of Mars! This fast-paced episode was reminiscent of old Doctor Who as the British Empire soldiers find they are no match for the Icemen and their recently awoken Empress. A direct cousin to the Gatiss-penned episode Cold War, what it lacked in emotion it made up with in humour and derring-do. (Mark: 7 out of 10)

 

  1. THE EATERS OF LIGHT – Rona Munro

More soldiers but this time the episode features the Picts and legendary 9th Roman Legion which mysteriously went missing in 2nd century Scotland. There was a lilting Celtic vibe to the music and cold landscape as a vicious beast feeds on the light and any humans in its way. I enjoyed the witty script and mix of historical and science fantasy made it very watchable indeed. (Mark: 7.5 out of 10)

 

  1. WORLD ENOUGH AND TIME – Steve Moffat

This was my favourite episode of the season; only spoilt by the BBC ridiculous policy of giving away plot details in the trailers.  Here the Doctor, Nardole and Bill land on a humungous space-ship over 400 miles high which is perilously close to a black hole. The Doctor gives Missy a chance to shine as er… The Doctor and much hilarity ensues. Michelle Gomez owns this episode and the moment she meets her past Master is a wonderful twist. I loved the duality of evil theme and the ship with different temporal states was just a brilliant concept from Moffat. Bill’s slow transition into a Mondasian Cyberman is directed with creepy imagery and fear-inducing dread; while Capaldi’s face when he realises he’s too late is damned heart-breaking. (Mark: 10 out of 10)

  1. THE DOCTOR FALLS – Steven Moffat

The Doctor, Nardole and Cyber-Bill join together to battle the gathering Cybernetic storm. In their way though are the old Master and an on-the-fence-good-bad Missy. Bill’s realisation that she is a Cyber-person adds real pathos, while the Missy/Master axis of evil contains some dark wit between the action. The Doctor stands strong, until even he cannot sustain life amidst the beatings, electrocutions and explosions he suffers. With the Doctor and Bill virtually dead, and the Master and Missy killing each other, it is left to Heather (from The Pilot) to save the day. It was a big narrative pill to swallow but I loved the sentiment of love conquering space and time. Lastly, the final image of the Doctor, dying in the snow, being found by his original self was a wonderful payoff to lead into the Capaldi’s regeneration episode. (Mark: 9 out of 10)

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THE FUTURE

I read on the social media forums a lot that, amidst the more level-headed Dr Who fans, people are very critical of how the show has gone under Steven Moffat. Like a football supporter unhappy with their manager they have been complaining that Moffat’s writing is not very good and episodes have become stale and repetitive or even worse boring. Everyone is entitled to their opinion but I say to those people to stop watching.

Having viewed all of the rebooted Dr Who seasons many times I think, for a science-fiction family show screened at teatime on a Saturday it is actually on the main brilliant. Some of Moffat’s over-elaborate timey-wimey arcs have probably been too complex and fantastical, however, he has tried to be imaginative and experimental and for that should be congratulated. He has done great service to the grand Time Lord and he, the production crew, actors and writers should be proud of their wonderful efforts.

We await a new Doctor and a regenerating writing team led by Chris Chibnall of Broadchurch fame. Broadchurch was a brilliant police show set in a coastal community and if he can bring the emotion and depth of character to Doctor Who, I believe the show will be in safe hands. And who will be the next Doctor! Well, my choice would be the superb actor Reece Shearsmith and if they so happen to make the character female then I would go for Olivia Colman. Who it will be only time (and space) will tell.

 

Edgar Wright’s irrepressible ‘BABY DRIVER’ (2017): MOVIE REVIEW

BABY DRIVER (2017) – MOVIE REVIEW

DIRECTOR:            Edgar Wright 

WRITER:                Edgar Wright

CAST:                    Ansel Elgort, Jamie Foxx, Eiza Gonzales, John Hamm, Lily James, Kevin Spacey, John Bernthal.

**CONTAINS MINIMAL SPOILERS**

If there is a better and more precisely directed genre film in the last few years than Baby Driver (2017) then I have not seen it. Edgar Wright should take several bows for turning a familiar B-movie-heist-plot with nods to The Getaway (1972), Drive (2011), The Driver (1978), True Romance (1994) and many, many more into an exhilarating, high-octane, funny and dizzying heist thriller.

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The story concerns Baby (Ansel Elgort) who is in deep trouble with crime boss Doc (Kevin Spacey) and being the superlative driver that he is works off his debt by assisting with meticulously planned bank jobs. Baby is out of place amidst the rogue gallery of career criminals which feature great character actors such as: John Hamm, Jamie Foxx, Eiza Gonzales and the bruising masculinity of John Bernthal. Baby is a laconic and sensitive soul who lives in his own world, cares for his elderly foster father, has a dry sense of humour; and just loves listening to music!

Not only is Baby Driver a passionate paean to the heist movie but it also serves as a personal playlist for all of Edgar Wright’s musical delights. We get some incredible rock tracks supporting the action notably those by: The Damned, John Spencer Blues Explosion, T-Rex, Queen and many more. In fact, way back in 2003, Wright produced a prototype of Baby Driver for a promo video for the band Mint Royale featuring the comedians and actors: Michael Smiley, Julian Barratt, Nick Frost and Noel Fielding. You can watch it here:

Ansel Elgort was brilliant in the lead and his performance was so fresh and naïve and likeable that you could not help but root for his character despite Baby’s criminal activity. His driving is awesome though and the stunts and manoeuvres that Wright has designed had my heart in my mouth throughout. At times the camera moves and quick cutting become so breath-taking the dips in action are a welcome relief. Conversely, the character work from Lily James as Baby’s romantic interest Debora is very cute; while Hamm, and Foxx especially, bring an impressive unhinged alpha-male brutality to proceedings.

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In the non-robbery-less-musical-quieter family, heist-planning and romantic moments Edgar Wright’s script is so full of punchlines, witty retorts and character detail that you cannot fail to enjoy them too. As such I had a lot of fun with this film and Wright proves once again that while thinking and planning  every shot and cut and move and punchline he is able to energise the most simplest of B-movie crime narratives. One could argue that the characterisations of supporting characters, such as Gonzales and Spacey could have been filled in a tad but the fuel-injected pace covers such cracks brilliantly.

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My only real criticism is minor. It is that there’s mild repetition in the car action and there’s an antagonist switch and slight plot-hole during the finale which jarred momentarily. However, Edgar Wright certainly deserves a very big gig soon because he directs the hell out of the movie.  His arsenal of: long takes, quick cuts, swooping camera moves, canted frames, Steadicam, camera holds, frame switches, pans, scans, tilts, low-angles, metronomic editing, point-of-view and god’s eye view shots are all a joy to behold.

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Overall, it’s a story we’ve seen done many times before but as with Spaced (1999), Shaun of the Dead (2004), Hot Fuzz (2007) and World’s End (2013), Wright brings such a balletic rhythm, musical verve and kinetic drive to the movie it becomes simply irrepressible. I hope he gets a James Bond film or something similar to showcase his enormous filmmaking skills because while I really enjoyed Ant-Man (2015) you have to wonder how good his version of that material would have been.

(Mark: 9 out of 11)

(In mild defence of:) THE MUMMY (2017) – MOVIE REVIEW

THE MUMMY (2017) – MOVIE REVIEW

Is The Mummy (2017) an original movie?  No! Is Tom Cruise’s latest attempt at a movie franchise a good film? Not particularly!  But is it an entertaining-take-your-brain-out-popcorn movie?  Yes!  Now, of course, film reviews are all about opinions and The Mummy is an average film at best, but compared to some of the blockbusters of recent years such as Batman v. Superman (2016) and Suicide Squad (2016), it at least makes sense and has a decent through-line narrative.

The Mummy

I mean, I watch a lot of films, some great, some okay and some not-so-great and every now and then a film receives a critical pasting it deserves. But sometimes films get a kicking they don’t deserve. I think that bloggers and critics, professional or hobbyists, love the sound of their own voice, keyboard-tapping and ego passing judgement. Indeed, I am no different. To give the thumbs up or thumbs down can be empowering; it’s a lot of fun. Yet, at times one can get so caught up in their higher ideals of film critique and actually apply intelligent analysis to the wrong films. Either that or they just thought the film was crap! But in The Mummy’s case I don’t think it is.

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The film kicks off at a fantastic pace and aside from a mid-act breather for some exposition from Russell Crowe’s Dr Jekyll, keeps up the fast action relentlessly. Because, essentially this is all plot, action, jokes and monsters and is NOT MEANT TO BE TAKEN SERIOUSLY! The story is pretty simple and mirrors the Brendan Fraser movies from the late 90s/early 2000s; and any number of Mummy monster films where a hidden tomb is opened up and releases unimaginable horror upon the world. The old Universal Boris Karloff classic from 1932 was a moodier, low-budget and atmospheric affair while this is an altogether whizz-bang-rollercoaster-ride-affair.

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The main protagonist is Tom Cruise’s Nick Morton. He is basically an Indiana Jones meets Ethan Hunt type soldier, who along with his partner Chris Vail (Jake Johnson) is looting Iraq for Saddam’s hidden treasures. Of course, things don’t go according to plan and he and his partner, along with Annabelle Wallis’ fill-in-the-history-dots-archaeologist, unearth a monstrous and murderous Egyptian princess called Ahmanet (striking Sofia Boutella). In recent films such as Kingsman: Secret Service (2014) and Star Trek: Beyond (2016), Boutella has proved herself a physically commanding performer and once again she stands out here.

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I don’t know but maybe I was in a good mood but I really enjoyed the bone-snapping ghouls; heart-stopping plane crash; Ahmanet’s sensual yet suspenseful pursuit; car chases through the murky woods; underwater zombies; duality of man versus monster theme; plus a great little homage to An American Werewolf in London (1981). I would say though that Tom Cruise probably unhinged the story slightly with his “superstar” persona and a less well-known actor may have added a bit more suspense. However, his characters’ arc was actually quite interesting as a cursed thief questioning his morals and actions. Plus, the final pay off, suggesting further adventures, was actually quite satisfying too.

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In fact, while it’s very generic with haphazard plotting it is no worse than blockbusters like A Force Awakens (2015) or Fast and Furious 7 (2015) or Mission Impossible 6 (2016); which I enjoyed but are all very surface and style-driven, while remaining entertaining action films. Overall, The Mummy was totally unoriginal and I would’ve preferred even more horror and gore! But if, like me, you sometimes don’t want to think too much it works as a silly bit of monster entertainment with some brilliant action stunts thrown in. An alternative title perhaps could have been The Mummy: Romancing the Bones – and ultimately it is nowhere near as bad as many critics have stated; in my humble keyboard-tapping opinion that is.

(Mark: 7 out of 11)

 

 

 

 

CLASSIC COMEDY REVIEW: SIX HILARIOUS MONUMENTS FROM PSYCHOVILLE

CLASSIC COMEDY REVIEW: SIX HILARIOUS MONUMENTS FROM PSYCHOVILLE

Following the third season and movie version of the League of Gentlemen, Reece Shearsmith, Steve Pemberton, Mark Gatiss and Jeremy Dyson would find a cornucopia of acting and writing work on radio, film, TV and the theatre. In fact, their respective talents would make them very much in demand as they appeared or wrote for work such as: Doctor Who, Sherlock, Whitechapel, Marple, Benidorm, Poirot, Happy Valley, Ghost Stories (stage), Spaced, A Field in England (2013), The Widower, The World’s End (2013), High Rise (2015) and many, many more.

On top of that Steve Pemberton and Reece Shearsmith collaborated on a fraternal relation to the League of Gentlemen called Psychoville. Here they committed another gruesome set of original characters each with their own mysterious past. They brought together, over the crooked path of two seasons and a Halloween special,  programmes involving all manner of murder, comedy, telekinesis, mental illness, mistaken identity and disgusting deeds.

If you haven’t seen it then I urge you to do so as it is insanely clever and darkly funny. Here are SIX clips which highlight the genius of the show. You can still catch all the episodes on Netflix, if you have the stomach for it.

**THESE CLIPS CONTAIN SPOILERS**
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SEASON 1 – MURDER MYSTERY SCENE

David takes the Murder Mystery evening a tad too far!

 

SEASON 1 – “ROPE” PARODY

This is an insanely clever and silly homage to Alf Hitchcock’s masterful “one-take” thriller.

 

SEASON 2 – CREEPY LIBRARIAN

Reece Shearsmith plays an obsessional librarian perfectly!

 

SEASON 2 – TINA TURNER KARAOKE

Probably one of the funniest and bizaare impressions of Tina Turner ever!

 

SEASON 1 – THE JOY OF BIRTH

Unhinged midwife Joy speaks very honestly about the “glory” of birth.

 

HALLOWEEN SPECIAL – MR JELLY ORDERS A PROSTITUTE

Bitter clown Mr Jelly calls a lady of the night who does “specials”!

 

 

 

 

 

CLASSIC COMEDY REVIEW: TWELVETY MEMORABLE SKETCHES FROM THE LEAGUE OF GENTLEMEN

CLASSIC COMEDY REVIEW: TWELVETY MEMORABLE SKETCHES FROM THE LEAGUE OF GENTLEMEN

Reece Shearsmith, Steve Pemberton, Mark Gatiss and Jeremy Dyson are utter geniuses! Having won the top comedy award at the Edinburgh Fringe Festival in 1994 they successfully took their surreal and grotesque character comedy from the radio to the TV. Thus, in 1999 they brought an array of wonderfully drawn comedic characters, both funny and horrific in equal measures, to the small screen.

The show ran for three brilliant seasons and here are some the best moments I could find on YouTube. If you’ve never seen the show then you should as it retains its ability to shock, horrify and more than anything else make you piss yourself laughing.

Please note: these are the best sketches I could find online and there many more throughout the show, so do catch up with it on Netflix if you’ve never seen it. Once you start watching the inhabitants of Royston Vasey – YOU’LL NEVER LEAVE!

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“YOU’RE MY WIFE NOW, DAVE!”

The circus comes to town with strange occurences!

JED HUNTER’S COMMERCIAL AUDITION

An audition doesn’t quite go according to plan!

ATTACHMENTS DATING AGENCY

A dating agency with a less than tactful interviewer.

GO JOHNNY GO GO GO

The weirdest card games known to humanity.

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“It’s a shit business!” Poor Les just can’t get a break!

IRIS AND MRS LEVINSON DO “BATTLE”

The duelling cleaner and “boss” continue their bickering!

“I WON THE MUMS”

Jeff gives the worst “best-man” speech ever!

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Mr Chinnery releases a Kestrel into the wild!

“THEY’VE GOT PENS!”

Pauline meets a vicious nemesis!

“WE’LL HAVE NO TROUBLE HERE!”

Tubbs “cracks” under questioning!

HELL IS. . .!

Bernadette’s damning sermon!

“SEEN! SEEN! SEEN!”

Morons at the local video store!

“WAS IT SOMETHING I SAID?”

A very awkward confrontation!

 

 

TOTTENHAM HOTSPUR F.C. – PREMIER LEAGUE REVIEW (2016 – 2017)

TOTTENHAM HOTSPUR FOOTBALL CLUB LEAGUE REVIEW (2016 – 2017)

“Alright, I know I’m gonna lose here. But I’ll be the best second you’ve ever seen.”

From the film McVicar (1980)

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KICK OFF

I love football. I love Spurs football club! I have followed and supported them for over 35 years and have tasted glory and despair; well mainly despair. However, of late, with the current squad and manager we have been really quite good. So, here’s my view on the latest 2016/2017 season.

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THE NEARLY TEAM

Well, let’s address the elephant in the room first!  Tottenham Hotspur FC did not win any trophies during the last football season. However, Mauricio Pochettino’s team were one of the most exhilarating performers, coming closest of all the teams to catch the Chelsea machine managed by effervescent Italian Antonio Conte. Manchester United, under the guidance of dour millionaire whinger Jose Mourinho, professionally ground out respective wins in the Europa League Cup and English League Cup; while Spurs’ bitter North London rivals Arsenal found some form to beat an on-the-beach Chelsea in the FA Cup final. Yet, while Spurs finished trophyless for another season there were a great many wins for the team and I remain very optimistic for the future.

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SCORES ON THE DOORS

We had a cracking season overall despite not winning anything.  Here are some statistics and finishing positions for the season

  • 2016/17 Premier League season as runners-up.
  • 2nd place finish was the clubs’ highest league position since 1962/1963
  • 86 points was highest total Spurs gained since 3 point introduced for a win.
  • Unbeaten at home in the League for the first time in over 50 years.
  • 86 goals was the highest scored by any team in 2016/2017 season.
  • 25 goals conceded was the lowest number by any team in season.
  • +60 was highest goal difference for any team in season.
  • Harry Kane won the Golden Boot – 29 goals in 2016/17 season.
  • Christian Eriksen with 15 assists was 2nd in the 2016/2017 season.
  • 7-1 win against Hull FC was a record away win in the League.
  • 85,512 – Highest attendance ever (at Wembley) against Bayer Leverkusen.
  • FA Cup: Semi-finals
  • EFL Cup: Fourth round
  • Champions League: Group stage
  • Europa League: Round of 32
  • Finished above Arsenal for first time in 22 years!

Despite the abject displays generally in the Champions’ League and Europa League the young team I believe will learn from this experience and hopefully we will give a better show next season. In the Premier League we were on fire, however, with sterling victories over the likes of Champions’ Chelsea, scumbags Arsenal, Guardiola’s show ponies’ Manchester City and boring Manchester United confirmed us a team of the highest quality in regard to results against the top teams. Klopp’s Liverpool were the ones who gave us the toughest matches, beating us at Anfield and drawing at the Lane 1-1 earlier in the season.

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Spurs confidently swatted aside most of the lower teams in the division both home and away and lost only four games to Manchester United, Chelsea, West Ham and the aforementioned Scousers. Obviously, the losses were disappointing, but if anything it was the 8 draws which cost us most of all really as we found Chelsea 7 points too good by the end of the season.

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THE PLAYERS

How do you choose a player of the season when we’ve had so many consistent performers? Hugo Lloris was once again, a couple of rash out-of-the-box situations aside, formidable between the sticks. The fluidity of the three/four at the back system found Jan Vertonghen, Toby Alderweireld, Eric Dier, Danny Rose and Kyle Walker providing a solid white wall in defence. Even when Rose and Walker were injured Ben Davies and Kieran Trippier deputized with some aplomb. In midfield Moussa Dembele and Victor Wanyama were both powerful and athletic beasts, stomping and controlling games, especially at White Hart Lane.

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Adding silk to their steel was the mercurial Dane, Christian Eriksen, who continues to impress with his passing range and incisive crossing. In the forward positions Heung Min Son added a serious amount of goals to his pace and skill scoring 21 goals in all competitions. Then the dynamic headline-stealer Dele Alli, who at the age of twenty, won the young PFA player of the year and was named in the PFA Team of the Year. I really hope we can hang onto him as he is just an incredible talent as his 22-goal season testifies. Two headers against Chelsea were superb and his goal against Watford from outside the box was a beauty amidst a stream of wonderful goals.

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Finally, with 29 goals in the Premier League alone Harry Kane was once again phenomenal!  His strength, movement, skill and dead-eye shooting skills in front of the goal means he was arguably our player of the season. Wanyama, Eriksen, Alderweireld and Alli were equally valuable in a fine team effort, but without Kane’s goals we would have been lower in the league. Two separate injuries during the season prevented even more goals being scored and his injury in October 2016 coincided with those draws which possible cost us the title. Nonetheless, what a player Kane was for us, leading the line with sheer genius.

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THE MANAGER

What can you say about Mauricio Pochettino that has not been said? Perhaps inexperience in European competition caused a slight blight on his 2016/2017 managerial season overall, but that is being very critical. Because overall his Spurs team in the Premier League were just exhilarating. It’s one thing creating a steely and measly defence but to then craft a structure to allow the team to bolt forward and destroy teams the way we did throughout the season was incredible. We hunted and crushed teams with sheer energy and force of will. Of course there were defeats but we bounced back with strength and determination and finished unbeaten at home going on an amazing nine game winning run which got us close to Chelsea.

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More than any player Tottenham Hotspur need to hang onto Pochettino as I think he is destined to be a managerial great as his ability to structure, coach and motivate players is second-to-none. Given our wage structure and lower net transfer spend, compared to other Premier League clubs, Spurs are punching well above their weight and for me Pochettino is performing a minor miracle at White Hart Lane. Long may it continue too!!  Here’s a musical tribute to Mauricio!

 

THE FUTURE

White Hart Lane is gone! Long live the new White Hart Lane!  The Chief Executive Daniel Levy has overseen a resurgence of Spurs on and off the field. For the 2017/2018 season Tottenham Hotspur FC will be playing all home games at Wembley Stadium and while our record hasn’t been great there recently I’m hoping we can make it a formidable place to come next year.

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It was a wonderful day to witness Spurs beat Manchester United 2-0 on the last game to be played at the old White Hart Lane and the future looks very bright for the new state-of-the-art stadium currently being built. The tribute to past players and games was tremendous and so many memories came to light. My blog item from a year or so ago echoed many of the sentiments of the day. Check it out here:

Also there was a fine tribute video narrated by Kenneth Branagh no less.

In terms of the playing staff for next season I think we, most importantly, need to hang on to the players who have done us proud this year. Some will inevitably leave as surplus to requirements, while others will possibly be the subject of bids from other clubs. Indeed, Kyle Walker, our dynamic right-back is being looked at by Manchester City I believe. However, I’m confident we should hang on to most of our players and if we do get bids clubs will have to negotiate with Daniel Levy; a man who drives a very hard bargain.

In terms of purchases our modus operandi is usually to buy hungry, younger players rather than make huge purchases. Our record signings are the currently injured Erik Lamela and disappointing Moussa Sissoko. If both of those players were to find top form it would worth keeping them. These are big IFs though. I would like to see us get another striker to back up Harry Kane, however, if Vincent Janssen develops positively that may not be necessary.

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The 2016/2017 season was a tremendous one for Tottenham Hotspur FC on the pitch and I really hope we can push for more glory next season and perhaps even win a cup or incredibly win the Premier League. As usual for a Spurs fan hope springs eternal!

 

 

 

 

 

MOVIE REVIEW: WONDER WOMAN (2017)

MOVIE REVIEW: WONDER WOMAN (2017)

DIRECTOR: Patty Jenkins 

WRITERS: Created by: William Moulton Marston,
Screenplay: Allan Heinberg
Story: Allan Heinberg, Jason Fuchs, Zach Snyder

CAST: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen

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**CONTAINS MINIMAL SPOILERS**

The need for super women and men to rise and protect us against the foes of everyday existence has never been more requisite. Governments, politicians, military commanders, corporate greed, religious leaders and humanity’s capacity for evil and destructive behaviour means people are under threat from violence and death on a daily basis. It’s the world we live in and one we have always lived in. Life is a gift which we continue to throw away because of a difference in beliefs, thoughts, race, gender and language. It is insane but I doubt it will ever stop. So, one must except it and be grateful for all the good people and for every day one is alive. But how do you escape from this terror that lurks in the world and the fear that comes with it? Well, we have the fantasies on film and TV screens and in comic books that convince us we can be saved; that the bad people in league with the devil can be put to the sword of justice. This month we have the Amazonian powerhouse that is Wonder Woman!!

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The DC comic-book-cinema-world has taken a critical pasting and much of this can be put at the door of the attention-deficit-director Zach Snyder and of course the studios themselves who have, in my humble opinion, ignored the basics of storytelling and genre in a bombastic attempt to out-do Marvel’s slick and productive Universe. Indeed, there were great films somewhere in the over-stuffed crusts of Man of Steel (2013), Suicide Squad (2016) and the incomprehensible Batman v. Superman (2016); brilliant characters, actors, special effects, action, set-pieces, music in all of them. However, they were ultimately let down by the structure and storytelling. Not so with Wonder Woman, which goes back to basics and takes its time to establish our heroine’s origins and, unlike the other DC films, builds character and empathy prior to launching into a feast of amped-up-to-eleven fight sequences and wondrous leaps of derring-do.

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At the centre of all the action is the athletic Gal Gadot as Diana, Princess of Themyscira, who as a girl, desires to join her Aunt Antiope (scene-stealing Robin Wright) as a great warrior, but is forbidden by her mother Queen Hippolyta (Connie Nielsen.) The first act is full of powerful mythology, imagery and characters and to be honest I could have watched a film about their lives on the beautiful secret island. Yet when their peace is unsettled by the appearance of Chris Pine’s American spy and the German Navy pursuing him we get an almighty beach battle between the modern-day Teutonic troops and the Amazonian warriors. This sets the tone of the mythological past juxtaposing with the modern era (albeit circa 1914-1918) and this theme remains one of the strengths of the film.

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With the introduction of the charismatic and handsome Steve Trevor (Pine), Diana is galvanized to fight for the Allies in World War One, and thus truly begins the heroine’s journey. The pace and turns in the narrative are handled extremely well by director Patty Jenkins. She gives as much importance to the scenes between Diana and Steve, notably the witty exchanges on the boat and during Diana’s first encounter with the big city. This ensures we are committed to their relationship and the romance had echoes of Indiana Jones and Marian Ravenwood’s from Raiders of the Lost Ark (1981). Conversely, everyone’s favourite baddies, the Germans, provide a solid nemesis which to root against as Danny Huston’s General and his more interesting assistant, Doctor Maru (Elena Anaya), develop a heinous gas with which to defeat the Allies.

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I think I liked the film so much mainly because it was simple in structure, well directed, and yet retained much of the magical fantasy and mythology of the comic books. Moreover, it contained some kick-ass slow-motion action sequences and the sight of a warrior Princess using a mighty sword and golden rope while taking out Germans and huge tanks was nothing less than breath-taking. The cast, especially Gadot and Pine commit wonderfully to their characters and the story. Minor criticisms are the slightly over-long running time and the cardboard cut-out nature of the secondary German characters. Nonetheless, as superhero films go Wonder Woman is right up there with some of Marvel’s best movies.

Essentially a traditional origins story, Wonder Woman may follow the well-worn formula of establishing our heroine, her strengths and her commitment to peace through powerful means, but it does it with verve, heart and compassion. I cared about these characters and while it may be a simple notion that love can conquer all, it is a universal emotion that I can definitely get behind. Because there is a lot of hatred on Earth and it needs all the heroes and heroines it can find; even if they are merely fantasy.

(Mark: 9 out of 11)