SIX OF THE BEST #8 – GAME OF THRONES’ MOST EVIL VILLAINS

SIX OF THE BEST #8 – GAME OF THRONES’ MOST EVIL VILLAINS

I’ve been enjoying the hell out of re-watching all the seasons of Game of Thrones and once again I take a look at six of the best things from HBO’s adaptation of George R.R. Martin’s amazing literary fantasy epics!  Game of Thrones has its fair share of nasty pieces of work so here, in my opinion, are the worst of the lot!

**CONTAINS MASSIVE SPOILERS – SEASONS 1 – 6**

CERSEI LANNISTER – LENA HEADEY

The quote, “Hell hath no fury like a woman scorned” was never more appropriate where Cersei Lannister is concerned. Brilliantly portrayed by Lena Headey her spite and evil is borne out of a sense of injustice; having been overlooked for leadership due to her gender by her father and the sexist nature of the time. This, I think, is forgivable if she wasn’t so bitter and twisted towards the likes of Tyrion (Peter Dinklage), Sansa Stark (Sophie Turner) and Margaery Tyrell (Nathalie Dormer) and didn’t openly revel in their suffering. Her plots aren’t always successful though because having given power to the ‘Faith Militant’ her plan backfired and she had to do the ‘Walk of Shame’. Having said that her revenge on the High Sparrow and his lot for this was, you have to hand it to her, explosive and devilishly realised.

CRASTER – ROBERT PUGH

Craster was Wildling pig of a man who was not only raping his own daughters for pleasure but using the male offspring as White Walker sacrifices in order to maintain his own safety. I understand that in desperate times desperate measures are required but to incestuously rape your own kin and farm them off to the deadly enemy takes the cake. Ultimately, he got his bloody comeuppance at the hands of another violent thug, the double-knifed traitor Karl Tanner (Burn Gorman). Having said that Tanner was just as vicious and having taken Craster’s Keep, he got a sword through the mouth from the heroic Jon Snow (Kit Harrington).

JOFFREY LANNISTER – JACK GLEASON

This snivelling-out-of-incest-born-cowardly-prick was a complete arsehole from the first episode. In true pantomime villain style, you could hear the screams of delight across the TV audience when he was poisoned at his own wedding in Season 4. He bullied all those around him that were weaker including the much maligned Sansa Stark and butchered prostitutes without a care in the world. What made this sister-brother-bastard-offspring even more odious is he was a complete coward too. He bottled it at the Battle of Blackwater and when he had the chance to show mercy for Ned Stark, gave the order for his decapitation. What a c—t!

LORD PETYR BAELISH – AIDEN GILLEN

With the voice of a hypnotic snake ‘Littlefinger’ is a very dangerous man indeed. In fact, he’s arguably the most evil of the lot as his plotting is virtually invisible and yet done in plain sight. A true Machiavellian he manipulates everyone using spies, soldiers, servants and prostitutes to do his watching and listening. His crimes are legion and include:  turning on Ned Stark to favour the Lannister’s; helping the Tyrell’s poison Joffrey to turn on the Lannister’s; pushing madwoman Lady Lysa Arryn to her death through the Moon Door to benefit himself; gaining Sansa Stark’s trust before finagling her into marrying the complete bastard Ramsay Bolton; and then turning on the Bolton family by taking the Knights of the Vale to defeat them. In short: he’s a brilliant and fiendish tactician up to the end of Season 6 that is, when he finds further rivals stopping his path to the Iron Throne.

MELISANDRE THE RED WOMAN – CARICE VAN HOUTEN

The Red Woman is a constant threat to all characters throughout the seasons of the show. She uses her committed fervour to the Lord of the Light, and her sexual wares,  to suck the life out of the people around her and bring bloody death to others. Essentially a human embodiment of the Succubus creature she gets her claws into Stannis Baratheon (Stephen Dillane) and convinces him the fire has named him the one and true King. Only after Stannis’ daughter is burnt at the stake as a sacrifice and Stannis is killed in the Battle for Winterfell does she admit she may have got it wrong?!? Having previously killed Renley Baratheon with black magic;  leech-raped Gendry (Joe Dempsie) for his blood; done for Stannis; she then turns her attention to Jon Snow. Indeed, even though she had brought him back to life he banishes her for the witch and jinx that she is.

RAMSAY BOLTON – IWAN RHEON

Beginning in some ways like a Northern Joffrey, the bastard Ramsay Snow was introduced as a possible ally to Theon Greyjoy (Alfie Allen), only to sneakily turn the tables and in fact reveal himself to be Theon’s captor. Unlike Joffrey he is cunning, as he proved getting information out of Theon, and actually a fierce fighter and killer. While he genuinely backs up his psychopathy with violent acts his means of killing people is gruesome to say the least. The Bolton’s do not take prisoners and instead skin their foes alive. While Ramsay delights in not only feeding his enemies to the dogs and sexually humiliating poor Sansa, he also cut Theon’s cock off in one of the most sickening acts of violence. In a TV show that is always imaginatively near-the-knuckle when it comes to torture this was utterly sickening. Sansa’s revenge on Ramsay has to be one of the most satisfying moments in the show’s history.

R.I.P GEORGE A. ROMERO (1940 – 2017)

R.I.P GEORGE A. ROMERO (1940 – 2017)

One of the legends of cinema passed away a couple of days ago in George A. Romero. Here was a filmmaker who will always remain an inspiration to me as a movie fan and independent filmmaker.

He is most famous for single-handedly inventing the modern day zombie film, however, that, in my opinion is to simplify his legacy. What he achieved on low budgets with films such as: Night of Living Dead (1968), The Crazies (1973), Dawn of the Dead (1978), Martin (1978), Day of the Dead (1985) and more, was nothing short of incredible.

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His films indelibly etched images, sounds, music, sequences and of course bloody gore into my mind; some of which I will never forget to this day. Most importantly, though his horror films were of the fantastic variety, they were filled with incredible insight into the socio-political machinations of the day.

Because, George A. Romero knew that the horror on the screen could never match the horrors of war, oppression and death that humanity bestowed upon itself down the years and in the now. For being an independent, intelligent and political filmmaker is how Romero should be remembered.

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.

 

SIX OF THE BEST #7 – GAME OF THRONES: SCENE STEALERS!

SIX OF THE BEST #7 – GAME OF THRONES: SCENE STEALERS!

Game of Thrones is one of the biggest literary and TV phenomena of recent years. It has entered Western cultures’ psyche offering a glut of: plotting, death, sex, class-divide, war, fantastical beasts and devilish sorcery!  I think the main strength lies though in the wonderful writing that stems first from George R.R. Martin’s behemoth tomes and the incredible production values of the show. Plus, the casting, acting and directing is more often than not better than most cinema offerings.

With Season Seven almost upon us I have been re-watching the show on Sky Atlantic and decided to run a few blog items over the next few weeks dedicated to Game of Thrones.  Today, I choose six characters that for me have excelled in essentially supporting roles and usually end up stealing scenes from the main characters. One could argue that some of these are now main characters, however, in an ensemble cast I consider Tyrion, Daenerys, Cersei, Jamie, Arya, Sansa, Bran, Jon Snow, Varys and – due to his heavy plot machinations – Petyr Baelish etc. to arguably be the main characters. Well, of the ones who are still alive that is!

**CONTAINS SPOILERS**


BRONN – JEROME FLYNN

“Give me ten good men and some climbing spikes. I’ll impregnate the bitch.”

Bronn initially appeared in the first season and championed for Tyrion Lannister when he faced certain death in the Eyrie. Subsequently his Northern working class “charm”, philandering and brilliant fighting skills have provided many scene-stealing moments as Jerome Flynn presents a likeable and honest sword-for-hire-killer to a tee.

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JAQEN H’GHAR/THE FACELESS MAN – TOM WLASCHIBA  

“Help was not promised. Only death. Give a name, any name.”

Another assassin but this time one that is more mysterious and fantastical. Jaqen first appeared as a “tutor” of death and magical helper to Arya as he aided her escape from a Harrenhal bolthole. Subsequently, we saw nothing of him until seasons 5 and 6 when he takes Arya into his Braavos school for assassins and teaches her to become a “Faceless Man”, well women, or person of non-face and non-gendered persuasion.

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SANDOR “THE HOUND” CLEGANE – RORY McCANN

“Any man dies with a clean sword, I’ll rape his fucking corpse!”

He may have a burnt face and rotten murderous soul but I love the Hound. First seen as part of the Lannister’s sworn swords he bailed at the battle of Blackwater due to the wildfire burning bodies, ships and the horizon. After which he became a Ronin, walking the land and attempting some kind of symbolic redemption. Left for dead by Brienne of Tarth (who should be on this list) we thought we’d never see him again. But in the last season he was back; swearing, murderising and spitting out brutal one-liners with disgusting joy!


WALDER FREY
– DAVID BRADLEY

“Stark, Tully, Lannister, Baratheon. Give me one good reason why I should waste a single thought on any of you?”

The brilliant character actor David Bradley plays the nastiest, grim, old, sexist, racist, murderous bastard perfectly. You are both squirming in shock and then grimacing in horror at the words which leave his gnarled mouth. Of course, Robb Stark and his mother will never forget Walder Frey as he was the host at the infamous Red Wedding; which has a reception no one will ever forget.

YARA GREYJOY – GEMMA WHELAN

“Anything with a cock is easy to fool.”

Sister of the tragic Theon Greyjoy, Yara is the one with the proper balls in the family. Her character is first seen in Season 2, when from the start she tricks her brother with an incestuous practical joke. Yara impresses with her no nonsense attitude, intelligence and fearless confidence throughout as Gemma Whelan instils her character with a playful, yet fierce and probably psychotic depth and determination.

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YGRITTE – ROSE LESLIE

“I’ll cut your pretty cock right off and wear it round me neck.”

Ygritte was a feisty, fiery but sharp player who belied her Wildling roots to develop a passion and love for Jon Snow amidst the cold landscape beyond the wall.  Initially taken prisoner by Jon she turns the tables and eventually the two become entwined. Even watching today the chemistry between the two actors on-screen is very powerful as Rose Leslie brings real passion to the role. Moreover, their relationship also propels Jon’s softening in attitude toward the Wildling people; ultimately forging a powerful alliance.

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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)

 

 

 

 

FIX FILMS RETROSPECTIVE #5 – ELEPHANT TRUNK (2008)

FIX FILMS RETROSPECTIVE #5 – ELEPHANT TRUNK (2008)

“Matt’s about to have a night he wishes he could forget!”

TITLE:                         ELEPHANT TRUNK (2008) – short film (15 mins)

DIRECTOR:                 GARY O’BRIEN

PRODUCERS:             ROBERT WARD, PAUL LAIGHT, GARY O’BRIEN

WRITER:                     PAUL LAIGHT

CAST:                          TOM FREDERIC, LUCIA GIANNECHINI, CHRIS CROCKER, MIA AUSTEN, HARRIET JEFFREY

2008_Elephant Trunk_Poster

If you didn’t know, as well as writing reviews of films, TV, Tottenham Hotspur FC, South Park and Doctor Who, I also write and produce short films that will one day be watched by at least sixty-four people on YouTube! Hopefully anyway! Although having said that my last Star Trek fan film called Chance Encounter has over 30,000 views and counting! Not quite that cat playing Gangnam Style on a piano but not too bad. Anyhow, the 5th film I wrote and produced was a dark, romantic comedy called Elephant Trunk.

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Elephant Trunk – which if you didn’t know is cockney rhyming slang for drunk – came into production before The Hangover (2009) was released in the cinemas the following year. While not precisely the same story it still involves varieties of drunken mishaps as all manner of chaos ensues that destroys our hero Matt Sherry’s life as he attempts to get home while pissed. It’s a work of fiction but grounded in the many drunken nights I attempted to get home while hammered and follows the basic comedy rule that what can go wrong – WILL GO WRONG!!

I, and director Gary, could not have made this film without the help of my very good school friend Robert Ward, who for some kind reason, offered to put up the budget for the film; which as I recall was around £1000. As is usually the case myself and Gary smashed the script around building the protagonists’ journey as he lurches from one disaster to another; and looking back it remains a fun film to watch. We were also assisted by friends and family who got involved in the production and lent their time, bodies and properties throughout.

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Again, we cast the film very well with some excellent talent and much praise to everyone involved. I think Tom Frederic in the lead was absolutely brilliant! His young executive “everyman” has a simple arc in terms of the story. Tom brings a fantastic bemusement and physical commitment to the role, as his character falls, flails and fails over the course of the night. Amidst the slapstick there is some romance too as this story was an attempt to demonstrate our range in terms of writing and directing. Indeed, much of the production was shot guerrilla style (without permission) on the streets of London and on public transport. The urgency in the handheld camerawork and fast paced editing really enhances the “drunken” state of the hero during his plight.

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My two major regrets for this very entertaining short film was we had to cut (due to budget constraints) one very strange and creepy scene where Matt found his way into a house where a “sex party” was taking place involving a Gimp-like character. Also, that my distribution skills were absolutely terrible and, asides from one riotous screening night back in 2008 at the Exhibit Bar in Balham, I did not get Elephant Trunk the festival screenings I think it deserved. Anyway, maybe you think differently – here’s the film:

Writer. Filmmaker. Semi-Pro Comedian. Wageslave