Featuring: Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Keeley Hawes, Phyllis Logan, Lesley Manville, Rhys Ifans and Greg Kinnear
Sally Alexander: [speaking on TV about The Miss World Competition] “The only other forum in which participants are weighed, measured and publicly examined before being assigned their value is a cattle market.”
Released recently on DVD is the English based and produced “Misbehaviour” (2020), a drama with comic overtones that brings to light a period in 1970 when a women’s movement staged a live on air protest at the Miss World contest, which attempted to highlight how mass audiences viewed women, especially men but also how other women saw themselves not only in the public arena but also within their own lives. All of these aspects are highlighted by the relationships within the movie as well as how the media uses and is used to push one agenda while ignoring another. “Misbehaviour” brings together a very good high profile cast, gives them all room to breathe with their own stories that link up to the main narrative but is a little let down by some formulaic writing as well as uninspired direction which means this is a movie that, like so many British stories that are produced each year could get a little lost, which is a shame as this is not only an eye opening story but illustrates clearly that the idea of a movement based around women still is not only viable but is needed.
It’s remarkable the seeming ease that the British Film Industry is able to produce great independent drama, comedies and horror movies each and every year. Not only that, but the talent on show always seems to be original as well as first class. What many of these English films have in common is that they are based around something unique or have some kind of gimmick, this new movie “Misbehaviour” has both of those, but feels like it is stretched too thin to actually make the impact it should. While it is an ensemble with a large group of characters, the narrative itself feels rushed with so much plot to cram in when the actual event takes place it feels like an afterthought with a part of the story, a court case, that is never seen, which to me feels like a big part of the real life story. This movie has much in common with many of the British movies produced over the past twenty years, it has some well known actors that could all carry their own movies, it has a concentration of on location production, is based on a very English story and most often has relatively inexperienced writers and directors. What is healthy to see with “Misbehaviour” is that it is a feminist narrative that has been directed and co-written by women who are not newcomers with some experience in large productions.
Written by Gaby Chiappe and Rebecca Frayn and directed by Philippa Lowthorpe, this movie is very well executed with a bit of a sprawling narrative which encompasses a very large cast, so it is difficult for a real feeling of a solid story, it seems like as an audience we are moving all over the place even though there are only a few locales we actually visit which also for me is a little claustrophobic. It takes a real skill to not only balance a narrative, but also a large cast as well as a really important message, giving respect to real people without making them cyphers, offering real insight in a visual medium. One thing that all of these characters have are moments when they have to explain why what is happening is important, which becomes a little tiring, there for me are too many points of view. This is a very left movie which indicates why in some respect we see a movement against a very disjointed point of view. I mean this is a movie that not only attempts to comment on feminism but also racism, the mass media, sexism, colonialism and a host of other ideas that make for a messy narrative. Experience would help hone the themes as well as bringing the narrative together, however both writers and directors do a very good job.
“Misbehaviour” is based around the 1970 Miss World competition which took place in London, hosted by the US comedian Bob Hope. Arguing that beauty competitions objectify women, the newly formed women’s liberation movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. The plot as I have stated is actually simple and is carried off well, this is however all about the narrative and themes which are mostly carried off well.
This is a movie with a stellar cast led by Keira Knightley who shares the screen with some other fantastic actors, this is not a new kind of role for her as she has been playing character parts a lot over the past decade, she knows exactly the performance required and has great chemistry with relative newcomer Jessie Buckley, who again shines in a limited role. In support there are numerous actors to point out but the other standouts for me are the always great Lesley Manville as Bob Hopes long suffering wife, who in a small role makes an impact with only a few lines and Greg Kinnear as the aforementioned Hope, who does not imitate but hones an unmistakeable performance as the legend. Finally Gugu Mbatha-Raw as the contestant from Grenada really underplays her role to amazing effect, for me stealing the movie from everyone else.
All in all while “Misbehaviour” is not the perfect movie it is very well executed with a message that is highlighted by the protest at the Miss World pageant which could have been a lot longer or presented in a much more visceral way. It would have also been beneficial to see the court case or at least how it was handled by those involved. As with many based on real events movies there are always titles in the conclusion to show what happened to some of those involved, which is always a nice epilogue. In this case we see the actual people involved in a modern contact with an all too brief title saying what they went on to accomplish. There are also real photographs in the end titles of the real people as well as some priceless footage of the organiser of the Miss World show. I would recommend this highly, it is a fun movie with a very real message that is bolstered by some excellent performances.
Featuring: Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ray Fisher, Jason Momoa, Ezra Miller, Willem Dafoe, Jesse Eisenberg, Jeremy Irons, Diane Lane, Connie Nielsen and J. K. Simmons
Barry Allen: “This guy’s probably fought hundreds of thousands of other super beings on the other planets he’s destroyed, right? And we have to assume he’s won.”
Bruce Wayne: “I don’t care how many demons he’s fought in how many hells. He’s never fought us. Not us united.”
Released this week on HBO Max (NEON in New Zealand) is the recut, reimagined and retold movie that was originally released as “Justice League” (2017) four years ago and now with fan support, a new streaming service and a major injection of talent and money comes what is titled as “Zack Snyder’s Justice League” (2021) a movie that not only adds over two hours to the original but broadens the plot, changes the narrative while actually imbuing it with some real emotion that I was not expecting to enjoy as much as I did. There is no way to offer a review that takes into account all that happens without it turning into a self serving essay as well as offering far too many spoilers to keep any audience happy. In saying that I am going to address this new movie without referring (much) to Joss Whedon’s effort which I absolutely unabashedly hated, it was a letdown on all levels, in terms of plot, narrative, filmmaking and what it did with some of the most loved characters not only in the DCEU but also all of comics. I don’t want this to be a dumping ground on the former version of this movie but I really want to celebrate what Snyder has accomplished with little physical reshoots as well as little support from some areas of the industry, the entertainment industry that is.
Before I begin to address the movie itself as a work there are some aspects that need to be addressed, they are firstly the running time which is huge by anyone’s standards setting it up as some kind of event movie, it now runs at four hours and two minutes which on surface may seem like a head scratcher, will this be a bloated mess that is mired in its own importance, will its narrative feel stretched just to prove some weird point about a story that was set up a few years before? Well I can assure you that this is a movie that is made for streaming, it has six distinct parts that are titled which means you can pause at those points and come back, although in my opinion you will not want to as this movie feels like a much shorter movie by half. From the opening I was hooked, it grabbed and did not let go even with the elongated epilogue which for me is the weakest part of the entire thing but is not enough of a weakness to not give this effort nothing but the highest marks. Also gone is Joss Whedon’s name as director (obviously) and co-writer, but what does that mean especially with all the controversy that has plagued him recently. I will say this in passing that there are some very off moments of humour in the original mostly involving Wonder Woman coupled with the needless butt shots of her my regard for Whedon has diminished to the point that I would avoid all of his work. Whedon’s additions which are now all laid bare not only take away from the plot but also reduce the idea and central premise of the villain, also gone is the Steppenwolf dialogue about loving him which at the time were jarring but coupled with Whedon speak volumes.
As I have said there is so much to unpack and there are many characters that could be addressed but I am going to stick to one that is how Wonder Woman is treated within “Zack Snyder’s Justice League”, her performance as well as one difference between the earlier movie and this one. Before I talk about Wonder Woman though in general terms the characters themselves are all given a huge amount of room to breathe and to find themselves within the story as well their own plots which I found quite welcoming, this has the largest effect on Cyborg who becomes the centre of the story which I welcomed. This movie was able to give audiences a spotlight on each Leaguer, their origins and their own support characters to an extent that I would have thought to be detrimental but I welcomed it. Now on to Wonder Woman who for me is one of the most fascinating characters in the DCEU but for the most part has not been given a light to really shine. This may be a dissenting decision but I love the way Zack Snyder treats Wonder Woman as a hero, her physicality, her relationship to both her allies and her enemies as well as the way she does battle. Whilst I have no gripes about he way Patty Jenkins handled Wonder Woman’s origin and the early part of her adventure in the ‘modern’ world everything else about her work on those movies is dire, lifeless and the action is a mess. In both “Batman v Superman: Dawn of Justice” (2016) and now “Zack Snyder’s Justice League” she is not only an incredible fighter but has agency like nothing seen in both stand alone movies, not only that she is not hung up on lost loves or an Island far away, she maintains her independence whilst honoring what has come before. My belief is that Snyder could have helmed a stand alone Wonder Woman movie with ease although I understand why that was never on the cards. Seeing Wonder Woman in this movie is a revelation, there is no trade off on her sex or sensuality, it is all about her as a person not as an object. She even offers the villain the coup de grace as a full stop on the third act battle which unlike some other appearances feels anything but pandering.
The driving force behind “Zack Snyder’s Justice League” is obviously Snyder who if anyone thinks he is not a good director has no clue as to what he is up to in putting together each and every scene making them in turn into a cohesive plot and narrative. The way in which this movie has been constructed, filmed and edited is nothing short of miraculous, Snyder deserves much of the credit in harnessing a huge cast with some very grandiose ideas and being able to get these across to an audience from Themyscira to Atlantis to Gotham to Metropolis as well as to all the other places that the movie takes place in, to keep this straight requires skill but to populate the movie with characters we know to others we do not to the fact that each locale operates just a little differently really is a massive task that requires huge skill. Not only that but this is arguably the best a Snyder movie has looked since “300” (2007), it has a dark palette that gets brighter as the narrative progresses although even in the darkest scenes it is easy to see what he trying to accomplish, in fact we see a brightness when Superman is resurrected which looks incredible, when the heroes clash in the morning sun it is a sight to see. The other architect is Chris Terrio who no has sole writing credit and it turns out he can write a great superhero movie, it is dense, informative but never overwhelming which is saying something given the deep dives that occur within this movie, I was expecting Darkseid but when Desaad appears it blew my mind.
Of course with a movie like this there are some very good performances, obviously Gal Gadot does some of her best work here as Wonder Woman but the other actor that shines is Ray Fisher as Cyborg who shows why he was chosen for this pivotal role, he has interactions with everyone else and holds his own against both newcomers and the veterans, he would have been great to see other movies within the same role. Not only that but Ben Affleck, Henry Cavill and Jeremy Irons all in bigger and different parts show why they were cast in the first place. I often found myself thinking that all the actors must have been upset with what ended up onscreen in the original movie, all the nuance, plot details and action was jettisoned for a pale imitation of what we see here. This is a movie where almost all the actors inhabit their roles in a meaningful way, this movie proves that they all would have been excellent in more Justice League movies and may have been part of a series that could have been fantastic. We are all the worse off for not seeing Cavill, Affleck and others in these roles again.
When comparing this new version with the original the CGI has all been upgraded, not only that but the issue with Henry Cavill’s moustache have all disappeared. All of the CGI characters which consist mainly of the villains all look far more ‘real’ with surfaces that are far more intricate as well as thought out with both Steppenwolf and the parademons looking better than they did in the original movie. All the backdrops look more finished as well as the 3D environs getting a notable uptick in quality. With all the cleanup being completed we also lose some aspects that felt out of place including the people that lived around the base of operations of the villains which made no sense at the time. So that means that the third act showdown feels like the heroes and villains can go at the villains without the need to give other heroes something to do. We also get more CGI with the heroes powers in full force especially Superman and the Flash which I really enjoyed.
In truth there is so much of Whedon’s movie that has not survived, so many random scenes that felt weird and out of place that it was obvious the movie had been stitched together making it a mess on almost all levels. With this new movie we get a serious tone with some levity, not only that we also see a complete third act with all the heroes actually working together as one unlike the approach in the earlier movie. The stakes of this new version feel real and the ending seems earned, we also get more glimpses of other worlds including Apokolips, Darkseid, Desaad, Orion and a host of others which adds layers meaning we have some depth. Snyder has also given us insight into what may have come if he had have been able to release his version first, it is intriguing if not a little messy but I welcomed some of the scenes in the epilogue although not all of them equally. I also could not help two reminders of Snyders own loss, the movie is dedicated to his daughter and in one scene there is a billboard for the US anti-suicide charity something obviously far more important than any movie.
If you are wondering whether to watch this movie in all its four hour glory I say it is a definite yes, if you are curious as to what a full movie version of the Justice League looks like this is it in all its glory with no worries about running time or back stories, it has its payoffs and setups, yes it does end on a kind of cliffhanger but it does end. I still say this is Zack Snyder’s best work since “300”, it has much in common with that movie but this one feels more accomplished and shows a director who finally lives up to his own hype.
Featuring: Windsor Davies, Donald Sinden, Robin Kermode , Julia Watson, Honor Blackman, Teddy Turner, Derek Deadman, Maria Charles and Zara Nutley
Simon Peel: [entering a cobwebbed room] “Nobody’s been in here for years.”
Oliver Smallbridge: “It’s like the inside of your wallet.”
Released on DVD this month is the English comedy television series “Never the Twain” (1981-1991) which was one of the longest running comedies in their history, which is saying something about the appeal of this show to a mass audience as well the two actors at the centre of every episode, the now departed Windsor Davies and Donald Sinden who acted like an odd couple that retained their popularity for a decade.
The series is based around Oliver Smallbridge, played by Windsor Davies, and Simon Peel, played by Donald Sinden, are antiques dealers who are also bitter enemies (after a falling-out having been business partners) and next-door neighbours, both in their homes and shops. They are engaged in a continuous game of one-upmanship, so both of them are shocked when they find out that their respective children (Smallbridge’s daughter Lyn – played by Watson and later Kneale – and Peel’s son David – played by Kermode and later Morris) are in love and want to marry as soon as possible. The fathers are forced to reluctantly accept the relationship and marriage, which takes place at the end of the first series.
There are very solid reasons why UK comedies do so well every year, as well as lasting for long periods or cease production at their height leaving audiences wanting more. Firstly they are funny whether high brow, low brow, alternate or whatever sub genre they are they meet a need for laughs which mean lots of people watch. Secondly, the English have never met a situation they could not Mae fun of, a student flat, an office, a hotel or in this case two warring antique shops which also can be used to frame any number of week to week issues which of course is exactly what occurred. Thirdly and this holds today, there are a number of talented veteran as well as new actors that are able to fill roles that require very different traits. In “Never the Twain” the producers were able to enlist two extremely talented veterans in the form of the great Windsor Davies and Donald Sinden who seemed to be made for their parts in this long running comedy. Davies himself was well known from his signature role in what has to be one of the greatest English comedies “It Ain’t Half Hot Mum” (1974-1981), it is incredible that for nearly twenty years he was able to ride two very good series. Sinden on the other hand was know as a dramatic actor so he played more of a straight man to Davies which seems logical, working well for ten years.
Like many, and there were many, English comedies of the day “Never the Twain” has dated which shows from the first episode and the central theme to the series is a little tiring at times, but the skill in which it is executed like todays comedies is flawless with great sets, incredibly talented acting and a large amount of humour. In saying that this is still a great watch it gives insights into another time while quite recent it is without key elements that we live with each day and so it is incredible to think that a revolution was just around the corner, in terms of technology, storytelling and how a relatively niche like antiques could be made into a mainstream large culture hit.
Episodes
Series One
Families at War: Antique dealers Simon Peel and Oliver Smallbridge were once partners until Oliver had an affair with Simon’s wife. Now they are bitter rivals – and next-door neighbours, constantly trying to sabotage each other. Oliver’s daughter, riding instructress Lyn, and Simon’s son David, a trainee accountant, are in love and want to marry. The two fathers hold a temporary truce to oppose the plan – until Lyn falsely claims that she is pregnant.
Of Meissen Men: Reading that a widow called Veronica Barton is selling her late husband’s Meissen collection both Simon and Oliver, pretending to be private collectors, visit, hoping for a knock-down bargain. Discovering that she is an attractive middle-aged woman they compete for her affections as well as the porcelain but when she discovers their true intentions she gets her revenge at a smart restaurant. Lyn and David finally admit that she is not pregnant but try to help their fathers by claiming that the Meissen is to be a wedding present. Veronica consents to selling to both …
A Night at the Opera: Veronica tells Simon and Oliver that she has a spare ticket for ‘Cosi Fan Tutti’ in Edinburgh but neither Simon nor Oliver is initially interested – until Oliver poaches Simon’s daily help, Mrs Grieves and Simon decides he will escort her out of revenge. Oliver sabotages the plan by telling Simon that Veronica wants to marry him but Simon exposes the plan to Veronica so that Oliver ends up taking Mrs Grieves. Simon finds his replacement for Mrs Grieves in elderly ex-seaman Banks who is happy to pose as the butler.
A Matched Pair: Not only is Oliver’s golf club membership refused but his shop is burgled. However the duelling pistols that he reports as stolen were only borrowed by his dim assistant Rocky so, to prevent complications, Rocky dumps them in Simon’s shop. Initially amused by Oliver’s misfortune Simon is appalled when he gets charged with receiving stolen goods. Oliver comes forward to let him off the hook – provided he will endorse Oliver’s golf club membership application.
Nothing But the Truth: Lyn and David vow that they will never lie to each other. Their fathers are sceptical – and gleeful when Lyn breaks off the engagement after David has admitted to a drunken kiss with another girl at a party. Now neither of them will need to pretend to be friends for their children’s sake. However the young couple are so miserable that eventually Simon and Oliver combine to reunite them.
Father of the Groom: Simon throws a dinner party for the Smallbridges where inevitably Lyn and David try to keep the peace. After the meal the fathers play cards but Oliver is offended when Simon accuses him of cheating and storms out. Lyn and David get married and, overcome by emotion, Oliver and Simon make up – and decide to play cards again.
Series Two
Who’s Been Sleeping in My Bed?: Whilst Lyn and David are on their honeymoon Oliver has a double bed delivered to the rooms they occupy in Simon’s house. Simon however has the same idea and two beds now take up a lot of space. When neither of the fathers are prepared to back down the children take their own parent’s side and row so to keep the peace Oliver sends back his bed. Unfortunately Simon does too.
As Young as You Feel: When he complains that she is spending too much time looking after her father who is exploiting her goodwill Lyn agrees to accompany David to a rock concert, rather than help Oliver celebrate his birthday. Under the guise of friendship Simon fixes him up with a birthday blind date but it is with the man-eating Isadora Beecham, from whose clutches Simon is trying to escape. Oliver however turns the tables on him.
A Woman’s Place…: When Lyn gets a promotion and pay rise at work student David feels inferior and forbids her to take it. They argue and she moves back in with Oliver, who finds her attentions stifling, so he and Simon collude to get the pair back together again. Banks also finds Oliver a housekeeper – his girlfriend, the accident-prone Mrs Sadler.
Blood Brothers: Whilst visiting Oliver Simon has a fall and badly cuts himself, being rushed to hospital. Having the same blood group a very reluctant Oliver agrees to donate blood for a necessary transfusion. Made to feel grateful by David Simon agrees to stop seeing Veronica and lend Oliver his car so that he can date her. However when Simon learns what really happened at the hospital he plans his revenge.
If You Knew Susan: Simon’s unpretentious younger sister Susan comes to stay and Simon is perturbed that she likes Oliver and starts going out with him. He offers Oliver a bribe to stop the relationship, unaware that Oliver has learned that Susan only wants to be friends as she has contacted her former boyfriend and has accepted the fact. Oliver uses Simon’s ignorance to obtain a coveted figurine at a knock-down price though neither intended that they would end up in a restaurant being romantically serenaded.
The More We Are Together: When David does Oliver’s accounts he discovers that Oliver has not been entirely honest about his profits. The tax inspector calls whilst Oliver is out so Oliver reckons that if he and Simon go back into partnership Simon will have to pay half the tax. The deal is signed – after which it is discovered that the tax man accidentally took Simon’s books, making Oliver liable for half the payments.
Series Three
Taking Stock: Now that they are partners again Oliver and Simon spend a day stock-taking and disparaging each other’s items. Oliver is delighted when Bethan, an old school friend, comes into the shop to sell an antique watch. For old times sake Oliver pays her over the odds, later to learn from Simon that she is a con artist – after Oliver has parted with cash half of which now belongs to Simon.
Partners: Simon is approached by Mr Wilde, a health food company rep, who wants to buy the shop for its premises and the offer is tempting. Oliver meanwhile wrongly believes that Ringo has won the pools and considers asking him to buy into the partnership to replace Simon. Both men approach the other to tear up the partnership agreement. In the event Ringo has not won the pools and Wilde turns out to be a deluded psychiatric patient so the partnership is back on again – with a pleasant surprise at Ringo’s party.
A Nose for Quality: Imperious Lady Devereaux calls in on Simon whilst in the next door shop elderly Mrs Piggit offers Oliver pieces for sale but seeing the Rolls parked outside Oliver wrongly assumes that she is the aristocrat. He is surprised to find that she lives in a council flat but he does pick up some valuable Netsuke whereas Simon’s visit to the real Lady Devereaux to outwit his rival proves to be a wasted journey. At least Simon can take comfort from the fact that the Netsukes are fakes.
The End of the Line: Simon and Oliver are concerned when Lyn and David claim that they do not want children, David pretending to have had a vasectomy to put them off the scent. Simon and Oliver both sign up to a dating agency and are told to meet their blind dates in a bar but since they have submitted very old photographs of themselves the women fail to recognize them and they get drunk together, rolling home to find that David has not had the snip after all.
The Welsh Connection: When Lyn and David opine that their over-weight fathers should go on a diet the two men join forces to resist and eat the most unhealthy foods in order to relax and enjoy life. A wake-up call occurs when Oliver learns that a good friend back in Wales has died of a heart attack and he and Simon suddenly espouse healthy living. They even become friends – until Simon learns that Oliver is heading for an auction in Wales to buy the deceased’s valuable antiques and gives chase.
Not on the Same Wavelength: Both dealers are invited onto local radio to talk about antiques but, since the producer is a member of his golf club, only Simon is asked. With Lyn knitting baby clothes for a friend the fathers assume she is pregnant, and are overjoyed, calling a truce with Simon making sure Oliver gets on the radio show with him. Only on air is it discovered that Lyn is not pregnant, which leads to a fight.
Series Four
A Home of Your Own: With Lyn and David now in Vancouver where he is working their flat in Simon’s house is empty. His formidable aunt Eleanor rings but, fearing that she wants to move in, he offers it to old school friend Alex – though he throws him out when he realizes Alex wants it for an illicit love nest with his secretary. Aunt Eleanor arrives so to forestall her Simon offers Ringo the flat – only to learn his aunt wanted it for her pretty god-daughter, whom Oliver is more than happy to accommodate.
The Royal Connection: Learning that Prince Charles collects Victoriana Oliver sends him a gift, hoping to secure his patronage. When Simon finds out he fakes a letter of thanks though Oliver knows it is a fraud. Sadly the parcel he sent the prince is returned as the contents are broken. To get revenge on Simon Oliver takes advantage of the fact that Simon is tracing his family tree and leads him to believe that he is of royal descent. This gives Simon delusions of grandeur though the genealogist shows him that his ancestors were indeed notorious – but for all the wrong reasons.
Words and Music: Oliver’s vet Caroline wants him to sing at her upcoming charity event. Not to be outdone Simon plans to give a dramatic recitation, but when each threatens to withdraw if the other goes on last, she decides to drop them both and go with Ringo, who does impressions. This is enough for them both to come back on side, but on the night Simon loses his voice and Oliver’s singing sets the dogs off barking in chorus.
No Flame Like an Old Flame: Simon gets a visit from his first love, Janis Hunter, now a very wealthy widow. The promise of money leads him to propose to her and she accepts but there is a price to pay as she bans him from smoking and drinking and puts him on a vegetarian diet. Simon begins to regret the proposal and calls on Oliver to help get him off the hook.
Loves’ Neighbours’ Lost: Simon and Oliver both believe they stand a chance with Caroline and, after sabotaging each others’ cars in order to take her on her rounds when her own motor is off the road, they decide on a duel. Caroline is horrified but so are her would-be suitors when she introduces them to her fiancé Leslie. Fortunately Mrs Sadler recognizes him as a serial womanizer so the engagement is off but Oliver has the last laugh when Simon’s painting of Caroline is revealed.
Come Fly with Me: Despite Mrs Sadler’s premonition of disaster Oliver and Simon decide to fly to Canada to see their children, with suspiciously cheap plane tickets purchased from junk dealer Biffin’s son. Following a recent spate of shop burglaries Simon installs a state of the art alarm system but when he forgets his passport and breaks into the shop it triggers it off, leading to his and Oliver’s arrest. They do get a police escort to the airport but on arrival find their destination rather different to the one they expected.
Series Five
In Whom We Tryst: Simon and Oliver are both smitten by Simon’s glamorous new assistant Belinda and both are pleasantly surprised when she reveals to both separately that she will spend a weekend away with them. Both of them turn up at the tryst at an hotel, unaware that it is a ploy to get them away whilst she and her boyfriend are robbing their shops. Fortunately Ringo saves the day – albeit by accident when he locks himself in the shop and calls the police.
Going Going Gone: The two dealers plan – separately – to spend a night at a country pub and are surprised to meet each other there, especially as they have to share a bed in the one guest room. Each is hoping to beat the other in a bid for a grandfather clock at a nearby action but, after Oliver has been locked out for the night in his pyjamas, their bickering means that neither ends up with the clock.
Thicker Than Water: Whilst drinking in the pub with Oliver Simon reveals that he is adopted, having been abandoned at an orphanage as a baby. Circumstances lead him to believe that his natural parents may be Charlie Crapper, a drunken petty thief, and his wife Lil, who sells papers on the street. He meets with them to break the bad news but fortunately they know something he does not.
Kung Who: Simon takes up judo to defend himself against likely muggers and invites Oliver to accompany him to his class at the gym. When Oliver accidentally puts on a tunic with a black belt Simon says nothing but enjoys seeing the so-called expert being pummelled by novices. Next day however Oliver gets revenge when a policeman who is a genuine black belt comes to the shop.
Reading Between the Lines: Simon is aghast to learn that oily solicitor Brimley, with whom he was at school, is handling the property next to the antique shops and plans to sell it to a fast food chain in return for an expensive car. Brimley will only reconsider if Simon and Oliver pay him a hefty bribe. Fortunately Ringo’s tale of unrequited love comes to the rescue when it is discovered that the married Brimley is having an affair with Ringo’s dream girl.
Definitely Not Cricket: Lady Devereaux offers Simon some sporting memorabilia at knock-down prices provided he captains her staff cricket team against the rival side led by parvenu bookie Bernie Miller. Simon is appalled to find his team comprises Lady Devereaux’s elderly staff but when rain prevents the game going ahead Simon takes advantage of one staff member’s prowess as a darts player and arranges a darts match instead. Miller’s side gets thrashed and he has to pay her the money from the bet that his boys would win. Unfortunately for Simon this means that she no longer needs to sell him…
Series Six
Feed a Cold: Simon has a cold and Oliver offers to look after him.
Going to Pot: Ringo decides to get some culture. After meeting one of his teachers, Simon and Oliver are pleased to accept his invitation to dinner and Simon makes a discovery in the kitchen cupboard.
Love Is a Many-Splendoured Thing: Oliver has fallen in love, however trouble arises after he meets his future mother-in-law.
A Night to Remember: Burglars are in the neighbourhood, leading to an eventful night for the two households.
The Battle of Deveraux Dale: Lady Deveraux asks Simon and Oliver to take part in a historical re-enactment of a Civil War battle, the battle of Deveraux Dale, at the village fete. On the opposing side is the bookie, Bernie Miller, who has a score to settle.
Affairs of the Heart: Simon’s ex-wife Stephanie arrives unexpectedly.
Series Seven
Settled Out of Court: A legal dispute arises between the two antique dealers following an incident in Oliver’s shop.
The Wagers of Sin: Oliver and Simon decide to have a wager on who can make the most profit on an item chosen by the other.
Betrothed, Bothered and Bewildered: After a boozy night out, Banks remembers that he has proposed to Mrs Sadler. However, neither wants to go through with it, although they don’t know that.
The Second Time Around: Mrs Sadler is missing Banks. Fortunately, there is a happy ending for both of them.
Born to Blush Unseen: Gardening Time. Oliver has something to show from his gardening efforts.
Fasten Your Seat Belts: Simon & Oliver get severely drunk on Simon’s birthday, and decide to visit their children in Canada.
Series Eight
Grandfathers-in-Law: Lyn and David, with their baby Martin, return from Canada, causing great excitement to Simon and Oliver. However, the grandfathers have to learn to cope with the baby more than they had anticipated.
Nursery Times: Lyn and David are looking for a flat while staying at Simon’s house. But Oliver would like them to stay with him too.
Whose Baby?: The christening is scheduled and Stephanie, Simon’s ex, is invited, causing anxiety for both Simon and Oliver.
Never Say Die: Simon has to go into hospital but confusion arises.
Moving On: The house-hunting by Lyn and David reaches a conclusion. It causes Simon and Oliver to think about their own situation.
It’s a Long Way to Friern Barnet: Lyn and David move to their new flat. Oliver and Simon decide to help them by redecorating the flat.
Series Nine
Just the Ticket: A series of mishaps contribute to a difficult day for Simon and, especially, Oliver.
A Point of Honour: Simon advertises for an assistant for his shop but runs into trouble after interviewing one applicant.
A New Lease of Life: Simon is feeling melancholic and decides to make a big change to his life.
Aspects of Love: Simon arouses Oliver’s suspicions and, in turn, Oliver is the subject of a rumour. These lead to gossip in the village.
Neighbours: Simon holds a meeting of the Residents’ Association. There is a new resident who is about to move in and this leads to a sleepless night for both Simon and Oliver.
Bonjour Paris: Off to Paris but soon they are in trouble at the restaurant and with the police, also causing a lot of trouble to an embassy official.
A Winter’s Tale: Christmas time. Simon and Oliver volunteer to keep watch overnight in the local church.
Series Ten
X Marks the Spot: Oliver and Simon both decide to stand for election to the local Council.
S.W.A.L.K.: Simon has a female pen-pal who he is looking forward to meeting, with a view to marriage. However, the reality is different.
Who Wants to Be a Millionaire: Both Oliver and Simon are doing the pools and hope to win big. After Oliver makes a mistake, Simon takes the opportunity to have some fun.
Happy Holiday: A weekend away for Simon and Oliver in Ringo’s mother’s country cottage. Trouble is that it’s the wrong weekend.
There But for the Grace of God: Simon comes across an old acquaintance who is down on their luck.
A Car by Any Other Name: The vicar wants to sell his car and gets Simon to help, while Oliver is also selling his car. A confusing time is the result.
Series Eleven
Viva Espana: Ringo wins a holiday in a competition and they all go to Spain.
The Best Laid Plans: It is the 10th anniversary of the two antique dealers being in business; they decide to go out to have a meal and visit the theatre. But they encounter some difficulties.
Born Again: Simon is searching for the meaning of life and thinks he has found it after listening to a preacher in the park. Oliver, however, sees a business opportunity.
There Goes the Bride: Aunt Eleanor decides to get married after a whirlwind romance.
Two Fools and Their Money: Both Simon and Oliver are in financial difficulties and decide to approach their bank manager.
The First of the Queue: Oliver tells Simon about a bargain in a shop, which leads to extraordinary efforts by the two to be first in the queue to buy it.
Developed by: Michael Piller and Shawn Piller based on The Dead Zone by Stephen King
Featuring: Anthony Michael Hall, Nicole de Boer, Chris Bruno, John L. Adams and Connor Price
Johnny Smith:“I had the perfect life until I was in a coma for six years. And then I woke up, and found my fiancé, married to another man. My son doesn’t know who I am. Everything has changed, including me. One touch and I could see things. Things that happened. Things that will happen. You should see what I see…”
Released this month on DVD is the now cancelled sci-fi television series “The Dead Zone” (2002-2007) based not only the Stephen King novel of the same name but also the David Cronenberg movie “The Dead Zone” (1983) which for almost all of its six seasons proved that it is possible to stretch a narrative into something not only cohesive but popular and highly original. What the show did with its narrative was something that many viewers would recognise today while it had many threads that were overacting through its run there were still ‘monster of the week’ stories as well which while keeping to a typical format were still extremely enjoyable, this came down to behind the camera talents as well as the original casting which included Anthony Michael Hall as Johnny Smith and a host of supporting roles filled by some talented character actors.
The series was based around small-town teacher Johnny Smith is involved in a car accident that leaves him comatose for approximately six years. After regaining consciousness, Johnny begins having visions of the past and future triggered by touching items or people; doctors attribute the visions to activity in a previously unused “dead zone” of his brain that is attempting to compensate for the impaired function of the portions injured in the accident. Johnny also learns that his fiancée, Sarah, gave birth to his son in the interim following the accident, but has since married another man. With the help of Sarah, her husband (and town sheriff) Walt Bannerman, and physical therapist Bruce, Johnny begins using his abilities to help solve crimes. However, his attempts to do good are complicated by intermittent visions of apocalyptic events brought about following the future election of congressional candidate Greg Stillson.
“The Dead Zone” was designed by Michael and Shawn Piller who had previously worked for years within the ‘Star Trek’ Universe so were able to bring much of their genre experience to bear in this series which shows with the type of stories that were being told as well as the use of special abilities to overcome any narrative hurdles. Of course the other element that comes into play with this series, in fact with any property of this type is the original author Stephen King who for the past six decades has been a constant with his books, as well the many adaptations of his work which have been all been of varied quality. In fact we now have lived through enough of his work that we are now seeing remakes of his adaptations coming through thick and fast. It could be said that this series of “The Dead Zone” was the first reimagining of an earlier adaptation. Of course just because something is remade, rebooted or reimagined it doesn’t mean it is an improvement as “The Mist” (2018), “The Stand” (2021) and “The Children of the Corn” (2020) prove, the originals of these were so much better for a variety of reasons. However for all the terrible re-adaptations there are some amazing ones including the incredible “Doctor Sleep” (2020) as well as “It: Chapter One” (2017), I would also add “The Dead Zone” to that list, at least for much of its run, but not all.
There is so much that goes into a hit or even a good television show but one of the first elements is the story and narrative which here mostly comes from a novel written in 1983, what the producers of the show were able to do was to take the bones of that story and stretch it out over six seasons as well as taking what was great about all the characters and making sure that from week to week there was enough going on that would prove who those characters were which would inform the plot that they were involved in. It was unfortunate then that the showrunners could not keep up with their own ambitions which meant instead of the series ending on bang it went in a whimper something the show nor the audience deserved.
In terms of the characters, who were all as compelling as those from the novel and the movie, who almost always operated in as believable way as they could for a fantasy show were all compelling from Johnny who missed out on the love of his life as well as a significant portion of his son’s life to his ex girlfriend and mother of his son who married another man, Walt who was the heart of the show, he had to balance his relationship with his wife, his adopted son and the man who was the first choice of both. It was complex and illustrated how a new type of family could co-exist with each other, something absolutely original for television at the time. Then there was Reverend Purdy whose machinations were never truly seen, was he a good guy or a rip off artist, did he really love Johnny or was he using him. These were all character pieces that were imbedded into each story regardless of what each episode was about, it was genius, and kept viewers hooked.
The casting really assisted this series starting with Anthony Michael Hall who most people knew from his appearance in John Hughes movies and was looking for a meaty role that would prove he could act as an adult which “The Dead Zone” did as well as proving he could lead a series and be excellent in it. Hall really illustrated in each episode that he could not only cope with the fantastical elements but could drive home all his internal feelings about his life and all that he had lost after coming out of his coma. With support from Nicole de Boer, Chris Bruno, John L. Adams and Connor Price we also see character actors who all know exactly what type of genre show they are in but also are able to like Hall show us real people with very real issues outside of all the fantastical elements.
Remembering that this show was viewed on older televisions it is amazing that despite this the way in which the show draws people into Johnny’s visions is actually not only quite spectacular but never gets old. It is a technique that when it occurs viewers are immediately sucked into what is being experienced by everyone involved, this effect is no less dramatic on new screens, my only wish is that this was released on blu-ray to take advantage of better sound as well as a wider color palette.
In case you have not guessed I recommend this show highly the only caveat is that the final season really falls off as well as ending on a cliffhanger but those first five seasons are just excellent, it rates for me in the upper quarter of great Stephen King adaptations along with the original movie and book.
Episodes
Season One
Wheel of Fortune: After six years in a coma following a near-fatal car accident, Johnny Smith awakens to find that he has the gift of second sight and uses his psychic powers to help solve a serial murder case.
What It Seems: Johnny (Anthony Michael Hall) uses his psychic powers to help solve a serial murder case.
Quality of Life: After returning to his old high school teaching job, Johnny begins to trust his powers after they allow him to save a high school all-star athlete from a possibly fatal heart condition. But with each vision, it makes Johnny physically weaker since the visions take a drain on his life energy.
Enigma: While Johnny and Bruce help an old man to find the long lost love of his life, Johny falls in love with the woman through the visions he has of her in the past.
Unreasonable Doubt: When Johnny is called to serve jury duty, he uses his powers to uncover the real truth about a murder case.
The House: Johnny learns details of his mother’s death that have been a secret kept by Purdy.
Enemy Mind: While searching for a runaway teenage girl, Johnny is accidentally exposed to a hallucinogenic drug following a drug lab explosion, and he must contend with being high which hinders his visions, and trying to rescue her from a brutal thug.
Netherworld: Struck with a vision of a fiery explosion, Johnny Smith must distinguish between his dream world and reality in order to prevent a disaster.
The Siege: When a disgruntled electrician, named Conrad Hurley, robs a bank and takes hostages, including Sarah, Johnny must try to change an ever-changing future where either Sarah or himself is killed.
Here There Be Monsters: Despite a terrifying vision, Johnny tries to help a tiny, superstitious town in Massachusettets where fear and paranoia has gripped the community following a little girl’s disappearance, where he and and Bruce soon become suspects.
Dinner with Dana: Things heat up between Johnny Smith and Dana Bright, the news reporter who’s been hounding him since he woke up, during a pretend date she plans to use as the basis for a cover story.
Shaman: Johnny Smith’s visions reach across time when he joins forces with a psychic Native American Shaman from centuries past to avert a major disaster.
Destiny: When Johnny Smith’s prediction of a tragic fire comes true, the incident brings him unwanted media coverage, as well as the attention of Greg Stillson, a very ambitious young candidate for congress.
Season Two
Valley of the Shadow: The season premiere finds Johnny still shaken by his Armagedon visions and growing increasingly obsessed with Stillson whom he’s secretly investigating
Descent: Johnny struggles to rescue four teens trapped in a collapsing mine, all the while reliving – and in some way trying to redeem – sins from his family’s past.
Ascent: Walt ends up in a coma after being injured during the mine rescue. Johnny tries to use his powers to reach Walt in his mind and lead him back to consciousness. But while inside Walt’s mind, and reliving how he first met Sarah, among other things, Johnny realizes that he is not the only person inside Walt’s memories. There is also a mysterious man, who is Walt’s father, trying to make him go into the light…
The Outsider: Johnny takes on a major corporation to prevent the mass marketing of a drug he foresees will cause terrible birth defects years down the line.
Precipitate: When Johnny is injured and infused with a blood product stemming from six different people, he begins having visions through the donors eyes.
Scars: Johhny’s decision to join the re-election campaign of Stillson’s (Sean Patrick Flannery) chief opponent, Harrison Fisher (Gerald McRaney) has unintended consequences.
Misbegottten: Johnny is kidnapped by a gang of three women inspired by The Blair Witch Project (1999), who plan to use his abilities to solve a murder mystery from the past and create their own next hit indie horror by filming everything that happens.
Cabin Pressure: On a flight to Washington with Purdy (David Ogden Stiers), Johnny has a vision of their plane crashing and must convince the pilot and onboard Air Marshall to risk the lives of everyone on board.
The Man Who Never Was: A terrifying vision leads to Johnny’s involvement with a man (Robert Culp) with a mysterious past who suddenly disappears.
Dead Men Tell Tales: Johnny inadvertently becomes involved with the local mafia when his visions lead him to help mobster Cathan Donnegal, whom he sees being gunned down by a local hood, Mickey. When Donnegal’s thugs threaten Johnny to make him help them investigate, the visions lead Johnny to a mobster’s moll, Nina, who has connections to the shady Greg Stillson. Stillson is back in town, seeking to buy up the land of an old Indian gambling casino to pocket more money for his political campaign; and his right-hand man/thug, Sonny Elliman, also shares time with the thrill-seeking Nina.
Playing God: When Johnny is reunited with two close friends from high school, one of whom is awaiting a heart transplant (Lochlyn Munro), he is tormented by a vision of the other (Ally Sheedy) becoming the donor.
Zion: The death of Bruce’s (John L. Adams) father, Pastor David Lewis (Louis Gosset Jr.), leads Bruce on an amazing journey down the road not taken.
The Storm: When Johnny is caught in a deadly storm, he is forced to come to terms with his own destiny in order to save those he loves.
Plague: When J.J. (Spencer Achtymichuk) falls prey to a deadly new virus sweeping across the Northeast, Johnny must use his powers to solve the medical mystery in time to save his son’s life.
Deja Voodoo: Johnny meets a beautiful woman (Reiko Aylesworth) in danger and is reminded again of the potentially dire consequences of even the smallest of choices.
The Hunt: ‘Government Remote Viewing Unit’ tries Johnny Smith’s special ability in the war against terror in a military operation.
The Mountain: Johnny, Walt, Sarah and JJ become involved in the search through the mountains for a missing plane, which contains two million dollars.
The Combination: Danny Avila is training hard for his first ever boxing title match, but John Smith urges him to drop out.
Visions: A man in a vision stuns John Smith by yelling at him and blames him for a bad future.
Season Three
Finding Rachel: Part 1: Johnny becomes the prime suspect in a case involving a missing woman and is confronted by her sister (Sarah Wynter), who clamors for his arrest.
Finding Rachel: Part 2: Following his arrest for the murder of a young volunteer for the Stillson (Sean Patrick Flanery) campaign, Johnny struggles to persuade the victim’s sister (Sarah Wynter) to help him find the real killer.
Collision: A mother is devastated as her daughter has disappeared. John’s visions of her collide with visions from his own accident nine years ago.
The Cold Hard Truth: A radio talk show host upsets John so much that he enters the radio station to tell him to behave. As it’s in vain, John visualizes the radio host fall from a high roof.
Total Awareness: Johnny and a young woman who can “see” numbers are on the run from defense contractor agents out to protect an information gathering program which could mean an end to all privacy.
No Questions Asked: Sarah fears Walt is seeing another woman and asks John to talk to him. He sees Walt hug the widow of a cop that died ten years ago. On top of that Walt has lost his police gun to an ex-convict.
Looking Glass: Two law students fear Johnny’s powers are the ultimate invasion of privacy and decide to prove that his visions can be wrong. But Johnny discovers he might have been right after all.
Speak Now: John gets problematic visions about a wedding soon to be.
Cycle of Violence: John visualizes a shooting drama at a local school.
Instinct: A mysterious tiny sound drive animals so mad that they attack people.
Shadows: When Johnny foresees the death of someone very close to him, he must confront his inner demons before they push him to the brink of murder.
Tipping Point: In a vision Christopher Wey urges John to make Reverend Purdy tell the truth about Mike Kennedy’s death. The following blackout makes John seek advice on brain surgery.
Season Four
Broken Circle: John lies in hospital, where Bruce tells him that he has had an 11 hour long brain surgery, and Rebecca is shot dead by the police. John has lost his visions and despairs.
The Collector: A young homeless girl at a social center where Sarah volunteers has disappeared and John’s vision about it makes him contact Walt.
Double Vision: A beautiful woman in a neighbor car at red lights distracts John and he slightly hits a man when they turn green. The man runs away. Touching his car at the hit spot John visualizes the shooting of a man.
Still Life: John and Bruce find a painting of a young woman by a living legend at John’s doorstep. As he touches the painting John visualizes her face covered with her blood.
Heroes & Demons: An autistic boy knocks on John’s door. He expresses himself mainly with adventurous drawings that he makes inspired by Tolkien. His father has got a death penalty.
The Last Goodbye: A young man takes up his long dead father’s legendary rock carrier, but when John touches the father’s Fender guitar, he visualizes him selling it 15 years after his ‘death’.
Grains of Sand: John tries to save a young mother and her infant from a car in a wild river. He saves the boy but visualizes that he must keep him away from the authorities and find his father.
Vanguard: At a school class reunion John touches his old pupil Alex Conners and visualizes him die in a ‘Doomsday’ fire.
Babble On: John gets visions about his father and why he was hospitalized.
Coming Home: Sarah’s father has moved into a retirement home nearby where many residents fear to have their souls stolen by the shadow man and it’s somehow supported by John’s visions.
Saved: Greg Stillson’s girlfriend is missing and he begs John to help him find her.
A Very Dead Zone Christmas: When female psychic Alex Sinclair (Jennifer Finnigan) pays Johnny (Anthony Michael Hall) a surprise Christmas visit, the two work together to solve the mystery of one very lost and confused Santa.
Season Five
Forbidden Fruit: Johnny races to find a way to stop the wedding of Miranda Ellis and Greg Stillson, while a political crisis develops that brings Stillson one step closer to the White House.
Independence Day: A lighthearted Fourth of July road trip turns into a nightmare after Johnny is hit with a vision of Bruce dying in a car crash.
Panic: When a young man comes to the Smith house in danger, Johnny uses images of his family’s WWII past to save the group.
Articles of Faith: A young Muslim boy is murdered, and the white supremacist son of a new Faith Heritage minister takes credit. While Dana uncovers the minister’s own hateful past, Johnny uncovers the details of the murder.
The Inside Man: When Johnny foresees the theft of a prized religious artifact on display at Faith Heritage, he infiltrates the band of masked robbers in order to save innocent lives.
Lotto Fever: Johnny is kidnapped by a “loser” convinced that the psychic ruined his life by helping him win the Lotto.
Symmetry: What happens when a psychic is attacked and his whole life flashes before his eyes? Would that also include the life of his attacker? And the life of the attacker’s innocent victim?
Vortex: Johnny is brought before a congressional panel, led by Greg Stillson, after infiltrating a cult to prevent a Waco-like catastrophe.
Revelations: The arrival of a mysterious young woman from Rev. Purdy’s past raises new questions for Johnny about the minister’s character.
Into the Heart of Darkness: Johnny and Walt must rescue a newly pregnant Sarah from the kidnapper known as the Collector, who has returned seeking revenge.
The Hunting Party: In the season finale, Johnny is witness to Janus’ secret plot to assassinate the Vice President in order to move Stillson one step closer to the White House.
Season Six
Heritage: Johnny views visions of his friends in danger at a festival. He believes he has averted the disaster, but a fire later claims two people – changing Johnny’s life and the world’s fate.
Ego: Johnny butts heads with Anna Turner, the pompous new sheriff of Penobscot County and Walt’s replacement, skeptic to Johnny’s psychic powers. After having a vision about Sheriff Turner shooting an armed woman, Johnny begins investigating the woman. She turns out to be a psychiatrist with several patients who would like to see her dead. Meanwhile, Johnny tries to comfort Sarah in the wake of Walt’s death. He asks her and J.J. to move in with him, while he also learns that Sheriff Turner is investigating Walt for some past events.
Re-Entry: Johnny must try to set aside his personal distrust of Vice President Stillson in an effort to prevent a national disaster.
Big Top: Johnny’s visions inadvertently lead him to reexamine a ten-year-old murder case and his current relationship with his teenaged son, JJ.
Interred: When Johnny has disturbing visions of a man buried alive, he must overcome his differences with Sheriff Turner in the hopes of saving the man’s life.
Switch: After Johnny boards a train for some much-needed relaxation, he has a vision of a woman thrown to her death and soon falls for the intriguing beauty.
Numb: A serious case of appendicitis sends Johnny into another coma, and this time it’s up to Sarah to save his life.
Outcome: While at the bus station to greet Sara’s friend, Johnny has a vision of a mysterious explosion that kills everyone inside, and urgently races to discover the source, and prevent a tragedy.
Transgressions: Faith and truth collide as Johnny is thrust into a murder investigation of a young missing woman.
Drift: During a visit with Bruce, Johnny is struck with a vision of a valuable filly being stolen on the eve of a big horse race.
Exile: In jail for a crime he didn’t commit, Johnny risks everything to run from the law and try to prevent his psychic friend Alex Sinclair from being murdered.
Ambush: Johnny and Sheriff Turner’s lives are on the line as they pursue two separate criminal investigations that lead them both back to Walt.
Denouement: In the thrilling series finale, Johnny’s visions of Walt lead to a shocking discovery about Johnny’s dad as secrets from the past are revealed.
Debuting at IGN Fan Fest, a new clip from “Zack Snyder’s Justice League” has gone online that effectively re-introduces the members of the superhero team.
Snyder also confirmed the black-and-white version of the film is coming to HBO Max later this year, as might a theatrical release of the film in full IMAX with an intermission scored by Junkie XL.
Netflix has premiered the first trailer for filmmaker Zack Snyder’s zombie heist feature “Army of the Dead”.
Marking a return to the undead genre 17 years after his well-received “Dawn of the Dead” remake, the film follows a group of mercenaries who plot a heist on a Las Vegas casino during a zombie outbreak. Snyder has dubbed it “full-blown, balls-to-the-wall”.
Dave Bautista, Theo Rossi, Tig Notaro, Garret Dillahunt, Raúl Castillo, Omari Hardwick, Hiroyuki Sanada, Matthias Schweighöfer, Ella Purnell, and Ana de la Reguera star.
Netflix is expanding ‘Army’ into a franchise with a four-hour animated prequel series on the way. “Army of the Dead” will stream globally May 21st on Netflix.
The first trailer for the new film adaptation of the ultra-violent “Mortal Kombat” video game franchise is here from Warner Bros. Pictures.
The new film follows MMA fighter Cole Young (Lewis Tan), accustomed to taking a beating for money, is unaware of his heritage – or why Outworld’s Emperor Shang Tsung (Chin Han) has sent his best warrior, Sub-Zero (Joe Taslim). Ultimately he prepares to stand with Earth’s greatest champions against the enemies of Outworld in a high stakes battle for the universe.
Other cast includes Jessica McNamee as Sonya Blade, Tadanobu Asano as Lord Raiden, Mehcad Brooks as Jackson ‘Jax’ Bridges, Ludi Lin as Liu Kang, Hiroyuki Sanada as Scorpion, Max Huang as Kung Lao, Sisi Stringer as Mileena, Matilda Kimber as Emily Young and Laura Brent as Allison Young.
This R-rated adaptation of the property was produced by James Wan, penned by Greg Russo and directed by Simon McQuoid. It is set for release nationwide on April 16th both in cinemas and on HBO Max for 31 days from the theatrical release.
Written by: Safy Nebbou and Julie Peyr based on Celle que vous croyez by Camille Laurens
Directed by: Safy Nebbou
Featuring: Juliette Binoche, Nicole Garcia, François Civil, Guillaume Gouix, Charles Berling, Jules Houplain and Jules Gauzelin
Claire Millaud:“I do use social media, Dr. Bormans. For people like me it’s both, a shipwreck and a life raft.”
Released this month on DVD is the French drama “Who You Think I Am” (2019) featuring Juliette Binoche in a film that covers much territory in the modern world we inhabit especially social media and how that relates to the formation of relationships in many forms, the good, the bad and the weird. It is also a movie that walks a fine line by not being about any one effect in the formation of those relationships. The movie is a mixture of genres in that it is not a comedy or a thriller but a drama that inhabits a space that many might recognise but may find it difficult to properly categorise. This is one of the main strengths of the movie, that and of course the performance by Binoche herself which as usual is exquisite if not completely expected.
This a movie that asks why an older woman could not strike up an affair with a younger man, something that in reverse happens in the movie with Binoche’s characters own wayward husband. Not only that but even in a vast array of movies set in the modern world it seems to be almost de rigueur and almost expected that an older man will always end up with a much younger woman but is almost impossible the other way around.
The movie is based around Claire, a middle-aged professor of French literature, shares custody of her two sons with her ex-husband Gilles. She carries on a casual affair with the emotionally distant Ludovic, who on one occasion lets his roommate Alex pick up his phone when Claire calls. Claire develops a fascination with Alex, whom she has only seen on social media. She creates a fake persona, “Clara Antunes”, on Facebook and connects with Alex, gradually developing an emotional affair with him. When Alex grows insistent upon meeting in person, Claire decides to call off the affair rather than risk him being disappointed with her middle-aged self. Alex deletes his profile, leading Claire to meet with Ludovic to find out about him. He tells her that Alex, broken-hearted over a girl on Facebook, has taken his own life.
Directed by Safy Nebbou who has been steadily making films for the past twenty years here takes a detour into movie that is far more quirky and eccentric that his other work but with the aid of a solid script by himself and Julie Peyr he is able to harness the talents of his leading lady into something quite original and striking while at the same time commenting on modern society and of course social media which includes the idea of identity, ageing and what that means when we as people want something that either we are unable to attain or covet secretly.
As one of the defining French actors of the past five decades Juliette Binoche as usual shines in whatever role she plays, although in this movie she may seem too glamorous as someone who is unable to be or feel attractive to the opposite sex. However she is still watchable and believable as anyone could be in this kind of movie that asks for the audience to take a leap of faith with the filmmakers. Some of the best and more enjoyable scenes are those between Claire and her therapist Dr. Bormans that are a narrative device but also mean there are truths told out loud. The two women’s long conversations, are laced with perceptive, lightly caustic commentary about the disproportionate degree to which women’s social and sexual behavior is scrutinized and judged by society, themselves included.
“Who You Think I Am” (2019) is such a welcome movie as it tackles much about identity, ageing and what that means from a feminine point of view that has not been common among filmmakers. There are endless accounts of men again either alone, with younger women or even with their own peers. What I enjoyed about this movie was the point of view it takes as well as what it means to be older coupled with the decisions people make to feel something from someone who they have a connection with regardless of age. This was refreshing as it also attempted to defy typical tropes that have been seen in other films especially from Hollywood and even UK productions. If there is one thing that is lacking in modern cinema it is originality and while the story may seem unoriginal the narrative is not which is one key element that makes this a must watch.
“Zack Snyder’s Justice League” is arriving next month and today the full trailer has arrived.
WarnerMedia teases glimpses of The Joker, Darkseid and the new look Steppenwolf in the trailer for the four-hour juggernaut which promises to flesh out the characters more and offer a version said to be vastly different to the mostly reshot Joss Whedon theatrical version.
“Zack Snyder’s Justice League” will be coming exclusively to HBO Max from March 18th.
Universal Pictures has released a new trailer for “F9” (2021).
The film will feature the return of Vin Diesel as Dominic Toretto, Michelle Rodriguez as Letty Ortiz, Jordana Brewster as Mia Toretto, Tyrese Gibson as Roman Pierce, Ludacris as Tej Parker, Enrique Guzman as Simon Toretto, Nathalie Emmanuel as Ramsey, Helen Mirren as Magdalene Shaw and Charlize Theron as Cipher. John Cena, Finn Cole, Anna Sawai, Vinnie Bennett, and Michael Rooker have also been cast.
The full promo for the new Marvel Studios series “The Falcon and the Winter Soldier” coming to the Disney+ service from March 19th.
Picking up after the events of “Avengers: Endgame,” a now elderly Steve Rogers has passed his shield over to Sam Wilson/Falcon. The project is said to be the most expensive TV show made with each of its episodes costing around $25 million.
This six-episode miniseries will follow Falcon and ex-brainwashed super-soldier Bucky Barnes/The Winter Soldier as they team up to take down The Flag-Smashers syndicate. As Falcon wrestles with the legacy he is now in ownership of, old friends and foes return.
Anthony Mackie, Sebastian Stan, Daniel Bruhl, Emily VanCamp, Georges St-Pierre, Wyatt Russell, Erin Kellyman, Adepero Oduye, Desmond Chiam, Miki Ishikawa, Noah Mills, and Danny Ramirez star.
“The Ruth Rendell Mysteries – A Collection” (1987-2000)
Television/Drama
Seventeen Adaptations
Created by: Ruth Rendell
Featuring: George Baker, Louie Ramsay, Christopher Ravenscroft, Ken Kitson, Diane Keen and John Burgess
Ruth Rendell:“I don’t get sick of him [Chief Inspector Wexford] because he’s me. He’s very much me. He doesn’t look like me, of course, but the way he thinks and his principles and his ideas and what he likes doing, that’s me. So I think you don’t get tired of yourself.”
Critical Commentary
Released recently as a DVD box set with a selection of the entire series is “The Ruth Rendell Mysteries – A Collection” (1987-2000) which sees seventeen adaptations of the authors work. Ruth Rendell was a British writer of mystery novels, psychological crime novels, and short stories who was perhaps best known for her novels featuring Chief Inspector Reginald Wexford, who features in these stories.
Inspector Wexford first appeared in the 1964 novel From Doon with Deathand, and his first TV appearance, in the shape of the then 55 year-old George Baker, came in August 1987, with the ITV serialisation of “Wolf to the Slaughter”. This four-part pilot, produced by John Davies and adapted by Clive Exton, set the template for all subsequent Wexford adaptations that has remained largely unchanged. Many episodes foreground Wexford and Burden’s domestic complications, with Burden’s wife Jean (Ann Penfold) appearing throughout the first series. Early on Burden is a widower, left alone to cope with his two young children, John and Emma. Later he meets Jenny Ireland (Diane Keen), his daughter’s history teacher, and the two eventually marry.
The Ruth Rendell Mysteries was a British television crime drama series,. twelve series were broadcast between August 1987 and October 2000. The first six series focused entirely on her main literary character, Chief Inspector Reg Wexford, played by George Baker.
This is a series that many will recognise as the idea of a senior investigator looking into murders is one that has existed for decades and not completely original, however this is a look at life in a particular time as well as place which is what is not only unique to these shows but to all of the successful ones that have come before and after. Rendell had an idea of who she wanted to write about and she went at it which has been translated into what appears in this box set. The stories themselves are not of even quality, some are better than others with individual stories either being thought out better or the directing and writing being of varied quality.
The only real negative is that the entire run of the series is not present in this boxset which is a real shame but that could have come down to rights issues but what is here is fantastically entertaining, like many of its ilk it has great production values as well as excellent all round performances from its leads and guest players, thoroughly recommended.
Episodes
Master of the Moor: An ecology writer finds himself under suspicion of murder after an artist he meets on the moors is found murdered. When a second body is found, the police’s suspicion of Steven continues to grow, despite his psychological issues. A third woman is found dead, but Stephen thinks he can finally identify the suspect he saw on the moor that day.
Vanity Dies Hard: A wealthy orphan who is about to move house disappears without a trace the night before she is due to leave. Further revelations about Nesta’s private life begin to emerge, leading Alice to believe she has been murdered. Nesta’s affair comes to light, while Alice begins to suspect that the letters she received have been faked.
The Double: Two identical women, one virginal and touch-me-not and the other sexy and seductive, vie for the affections of a young stockbroker.
A Dark Blue Perfume: A middle-aged man is still haunted by a love affair from his youth which almost ended in murder.
The Secret House of Death: A lonely divorcée becomes involved with a neighbour whose wife and her lover carried out a suicide pact. Unaware that Bob and Magdalene are the adulterers who murdered their spouses and faked the suicide pact, Susan offers her neighbour comfort, which he pretends to accept in order to find out how much she knows.
A Case of Coincidence: After four attractive women are found strangled in and around the local river, the free-spirited wife of a London doctor is killed while on an extramarital assignation. The investigation leads to Eddie Brannel, a mentally handicapped childhood friend of Sara’s, and although he admits to the other killings, he denies killing her.
Simisola: Wexford investigates a complex case involving the disappearance of a Nigerian doctor’s daughter, which is only made more complicated when the last person to see her alive is found murdered. Wexford arrests his burglary suspect, but a routine search of his house uncovers a body, which he suspects may be that of Dr. Akande’s missing daughter. With his best witness still comatose, Wexford deduces that the unidentified dead girl was an abused servant, so he seeks the truth in the homes of the well-to-do.
Harm Done: Wexford copes with two abductions of teen-aged girls, the disappearance of a three-year-old from her bedroom, and the return of a paroled paedophile to the town.
May and June: After a lifetime of sibling rivalry, mousy May accepts an invitation from her recently-widowed younger sister June, to live with her in her elegant home. After accepting her sister’s offer of reconciliation, May emerges from her mousy shell and seduces her sister’s lover.
Front Seat: When Cecily Branksome retires back to her old home town over her husband’s objections, she becomes involved with her boorish old boyfriend and a 30-year-old murder.
The Orchard Walls: A bright young teenage girl is ‘farmed out’ to relatives in the rural West Country during the Battle of Britain, and makes many astute observations about life there.
The Lake of Darkness: Quiet accountant Martin wins the lottery, but things take a turn for the worse when he meets Francesca, who is not what she seems.
Road Rage: Wexford investigates when a young German girl mysteriously disappears from outside a pub, and a group of environmentalist stage a sit in to prevent a bypass from being built through a forest. Wexford’s wife Dora is released by the terrorists, but young Roxanne is found dead, and young Ryan has apparently defected to the terrorists.
You Can’t Be Too Careful: Prim businesswoman Della Galway has a compulsive penchant for double-locking doors – but her new roommate is careless about security.
The Fallen Curtain: Richard Brazier has a mental block about his abduction as an eight-year-old and is haunted by what may or may not have happened.
Bribery and Corruption: A recent college graduate believes he loves the wife of his father’s former friend, but young Nicholas does not know that she’s having an affair with his father. Nick’s father remains in a coma after a suicide attempt as the police make him a prime suspect in his lover’s murder, but young Nick and Annabel conduct their own investigation.
Going Wrong: A successful businessman runs into his old girlfriend. Although she treats him politely, his rekindled feelings to her border on nothing less than obsession. Guy’s obsession with his old girlfriend Leonora grows and he becomes convinced that someone close to her is poisoning her against him. Invited to Leonora and William’s for dinner, Guy goes mad when he learns that they will be moving to Manchester and attacks William.
Technial Commentary
Video
The transfers – all full-screen, 1.33:1 with the exception of Harm Done, which is presented in an anamorphically enhanced, 1.78:1 widescreen transfers – are the exact same transfers as the previous individual releases. The transfers have not been altered from previous releases so they are what is expected, not flashy at all but adequate. Although one would argue that this set is purchased for the stories not the technical look of the adaptations.
Audio
The Dolby Digital English 2.0 stereo audio tracks are all ok, although listening on an Atmos system the dialogue is a little murky which is odd so in the future if a master set is ever released maybe the audio could be properly remastered.
Created by: Garry Marshall, Dale McRaven and Joe Glauberg
Featuring: Robin Williams, Pam Dawber, Elizabeth Kerr, Conrad Janis, Tom Poston, Jay Thomas, Gina Hecht, Jim Staahl, Crissy Wilzak and Jonathan Winters
Mork:“Nanu-Nanu!”
Mork:“Shazbot!”
Released on DVD recently is the entire series “Mork & Mindy” (1978-1982) which is notable for featuring superstar Robin Williams in the lead role, who was already a staple on the stand-up circuit, this role as Mork would launch him into international households, setting up a big screen career that he would continue until his death in 2014. What is of interest is that “Mork & Mindy” was a happy accident after Mork had appeared in an extremely successful episode of “Happy Days” (1974-1984) it was decided to develop a series around that character as well as an Earth companion in the form of Mindy, played by Pam Dawber.
Looking back after all these years there are of course elements that stand out, the first and most obvious is of course the performance by Robin Williams who shines in possibly his most chaotic and wild performance of his career which is really saying something considering his other work. Of course the other element that is directly linked with William’s performance is that of Pam Dawber who has always been overlooked but if you watch the series with fresh eyes you can see a funny, caring and very aware performance. Dawber like many of Williams costars are the real strength when viewing him, in all of the stars best known and successful movies and television shows it is the understanding of those around him that made them. Having passive co-stars did Williams no favours, those that could match him in different ways complemented him making his performance even better, much like Dawber in “Mork & Mindy”.
“Mork & Mindy” of course is based around Mork who arrives on Earth in an egg-shaped spacecraft. He has been assigned to observe human behavior by Orson, his mostly unseen and long-suffering superior (voiced by Ralph James). Orson has sent Mork to get him off Ork, where humor is not permitted. Attempting to fit in, Mork dresses in an Earth suit, but wears it backward. Landing in Boulder, Colorado, he encounters 21-year-old Mindy (Pam Dawber), who is upset after an argument with her boyfriend, and offers assistance. Because of his odd garb, she mistakes him for a priest and is taken in by his willingness to listen. When Mindy notices his backward suit and unconventional behavior, she asks who he really is, and he innocently tells her the truth. She promises to keep his identity a secret and allows him to move into her attic. Mindy’s father Fred (Conrad Janis) objects to his daughter living with a man (particularly one as bizarre as Mork), but Fred’s mother-in-law Cora (Elizabeth Kerr) approves of Mork and the living arrangement. Over the next four years the series would attempt to try and broaden the story introducing new characters as well as getting rid of others, sometimes seemingly at random. The series suffered in the ratings as the wore on which was not assisted by endless tinkering, however you can see the central performances as key and those are what people remember to this very day.
Of course as with many television shows from the 1970s and early 1980s including “Mork & Mindy” there are a few elements that either could be off-putting to modern audiences or leave them feeling that the plots are almost simplistic in nature. Not only that but with “Mork & Mindy” specifically the four seasons that aired were very different in tone and feeling, especially when the leads were married and had a child, which meant that you had Jonathan Winters and Robin Williams vying for attention. Of course on the plus side there is a certain amount of pureness to the series which follows through to all the seasons, especially the last one which features the prototypical nuclear family, with a twist of course. The show was also not afraid to break the fourth wall at times especially with the episode ‘Mork Meets Robin Williams’ which brings William and Mork face to face, with odd results, it is actually influenced by the Beatles movies where a fictionalised version of the band interacts with real people and places. Apart from the nostalgia that is in play, and it it pretty heavy, more so than most shows mainly I believe because we are seeing the nascent beginnings of Williams career, and it is one of the greatest comedic careers in motion picture history even with his pivots into drama. It is quite magical to see all of Williams unhinged, scattershot, manic performances especially when he is with Winters and it is also great to see his dramatic turns when explaining humanity or when he attempts to understand humanity through his interactions with many different people of all ages and backgrounds.
A few years ago I might not have recommended this as highly as I am now, the main reason being Williams untimely and tragic death, in these early performances you can see he has a spark that just will not go out, which is true for his best performances.
Episodes
Season One
Pilot: Mork is sent to Earth to explore its traditions and, along the way meets Mindy.
Mork Moves In: Mindy lets Mork move into her apartment, much to the dispute of her father.
Mork Runs Away: Mork runs away from home after he ruins Mindy’s date.
Mork in Love: Mork falls in love with a music store mannequin; Fred plans to buy a luxury car to take to his class reunion.
Mork’s Seduction: Mindy’s snobby friend Susan tries to steal Mork away.
Mork Goes Public: When a reporter offers a reward for proof of alien life, Mork decides to turn himself in to pay back the McConnells.
To Tell the Truth: Mindy instructs Mork not to tell lies. Meanwhile, the grouchy landlord of the music shop drops in… and drops dead.
Mork the Gullible: Mork is jailed for freeing an escaped convict who’s captured at the music store. Meanwhile, Exidor begins worshiping O.J. Simpson.
A Mommy for Morky: Mindy reconnects with an ex boyfriend who’s intent on marriage. Meanwhile Mork uses his age machine to revert to childhood.
Mork’s Greatest Hits: A womanizing bully vows revenge after Mork embarrasses him in public.
Old Fears: Cora’s depressed after the death of a friend, so Mork ages himself to cheer her up.
Mork’s First Christmas: Mork can’t afford to buy Christmas presents, so he makes strange, unique gifts for each of his closest friends.
Mork and the Immigrant: Mork meets Sergei, a Russian immigrant, and invites him to live with them. After Sergei refers to himself as ‘an alien,’ Mork becomes convinced that he himself has to register with the government as an alien.
Mork the Tolerant: Mork goes out of his way to be nice to his grouchy new neighbor, Mr. Bickley.
Young Love: Mork agrees to perform a wedding ceremony for runaway Eugene and his new girlfriend.
Skyflakes Keep Falling on My Head: Exidor loans Mork and Mindy his decrepit cabin in the woods. Meanwhile, Exidor plans to become a rock star so he can obtain the title Emperor of Earth.
Mork Goes Erk: Mork decides to leave the planet. Meanwhile, Susan convinces Mork, Mindy and Mr. Bickley to see a lecherous motivational speaker.
Yes Sir, That’s My Baby: When a kidnapper solicits Mork to buy a baby, the police ask Mindy to help catch the criminal.
Mork’s Mixed Emotions: Mork’s attempt to lock up his emotions backfires and each of his emotions boil to the surface.
Mork’s Night Out: While Mindy’s out of town, Mork drags Mr. Bickley to a single’s bar where they meet a nefarious mother and daughter.
In Mork We Trust: Mr. Bickley begins stealing things from Mork and Mindy — including Mork’s age machine.
Mork Runs Down: On Mork’s birthday, he gets so run down that he forgets he has to recharge his body with an egg-like Gleek.
It’s a Wonderful Mork: After ruining Fred and Mindy’s night, Mork decides he wants to go back to Ork, so Orson shows him what the McConnells’ lives would have been like if Mork had never arrived on Earth.
Mork’s Best Friend: Mork gets a pet caterpillar; Exidor begins preaching about reincarnation.
Season Two
Mork in Wonderland: Part 1: After taking cold medicine, Mork begins to shrink.
Mork in Wonderland: Part 2: Mork winds up in a parallel universe where Exidor has become a tyrannical king.
Stark Raving Mork: Mork foolishly picks a fight with Mindy in order to “kiss and make up.”
Mork’s Baby Blues: Kathy drags Mork home for an evening and later announces that she’s pregnant with his child.
Dr. Morkenstein: Mork instills human emotions in a robot.
Mork vs. Mindy: Mork and Mindy compete to earn a job working for Nelson.
Mork Gets Mindy-itis: As Mindy prepares a formal party for Nelson, Mork discovers he’s become allergic to Mindy.
A Morkville Horror: When Mindy’s childhood home is put up for sale, Mork discovers several of Mindy’s deceased relatives still reside there.
Mork’s Health Hints: Mindy goes to the hospital to have her tonsils removed, but a mix-up finds her being prepped for brain surgery.
Dial ‘N’ for Nelson: Nelson gets threatening phone calls after he makes a stand against strip joints, so Mork and Mindy decide to sneak into one to investigate.
Mork vs. the Necrotons: Part 1: Three voluptuous aliens from Necroton capture Mork and attempt to find out what information he’s learned about Earth.
Mork vs. the Necrotons: Part 2: Captain Nirvana kidnaps Mindy in order to coax Mork out of hiding.
Hold That Mork: Nelson tries to further his political career by getting Mork the opportunity to try out to be a Denver Broncos cheerleader.
The Exidor Affair: Mindy’s level of annoyance with Exidor hits an all-time high when he invites himself and his new girlfriend, Ambrosia, to dinner.
The Mork Syndrome: When Mork decides to join the air force, he unwittingly learns of the cover up of a radiation spill.
Exidor’s Wedding: Mork finds Exidor’s estranged mother who protests his forthcoming marriage to Ambrosia by chaining herself to Mindy’s kitchen counter.
A Mommy for Mindy: Mork is overjoyed when Fred returns and announces that he’s remarried, but for Mindy, it dredges up painful memories of her mother’s death.
The Night They Raided Mind-ski’s: Mork haplessly gets involved with a group of white supremacists.
Mork Learns to See: When Mr. Bickley’s blind son comes to town, he gets dumped on Mork and Mindy.
Mork’s Vacation: When Mork takes a mental vacation, other strange, vacationing aliens take up residence in his body. Meanwhile Jean and Remo’s mother visits Boulder.
Jeanie Loves Mork: Mindy takes a job writing the Miss Lonely Hearts newspaper column and unknowingly encourages Jean to pursue a romantic relationship with Mork.
Little Orphan Morkie: When Mork is threatened with deportation, Exidor adopts him.
Looney Tunes and Morkie Melodies: Nelson is given TV air time to plug his political views on a Saturday morning, so Mork uses the opportunity to put on a kiddie show.
Clerical Error: Mork decides to become a priest.
Invasion of the Mork Snatchers: Mork becomes so hopelessly addicted to advertisements that they invade his dreams.
The Way Mork Were: Fred confesses that he’s having marital difficulties, so Mork and Mindy relay stories of their troubled times.
Season Three
Putting the Ork Back in Mork: Part 1: Mindy becomes so alarmed when Mork starts behaving like a boring Earthling that she suggests he finds a new place to live.
Putting the Ork Back in Mork: Part 2: An Orkan elder arrives and attempts to make Mork revert to his Orkan ways.
Mork in Never-Never Land: Mork befriends a mental patient who claims to be Peter Pan. Meanwhile, Mindy anxiously awaits word of whether or not she’s received a college scholarship.
Dueling Skates: When Wheels, the owner of the daycare center, announces plans to level the building, Mork challenges him to a skate-off through the city of Boulder.
Mork the Prankster: After Mindy introduces Mork to the concept of practical jokes, he puts her jeep in their second-floor apartment. Meanwhile, Mindy discovers Glenda Faye is feeling lonely and unhappy.
Mork, the Monkey’s Uncle: Mork takes a chimp from the zoo after the chimp’s mother goes missing. Meanwhile, Mindy decides to bleach her hair.
Gunfight at the Mor-Kay Corral: A boy at Mork’s day-care center becomes obsessed with Billy the Kid.
Mork’s New Look: Mork goes to see a plastic surgeon.
Alas, Poor Mork, We Knew Him Well: Mork becomes so paranoid about natural disasters that he locks himself inside a glass bubble.
Mork and the Bum Rap: Mork becomes a bum in order to help Mindy open a children’s hospital.
Mindy Gets Her Job: Mindy gets a job at a local news station
Twelve Angry Appliances: Mork gets revenge when a disrespectful repairman refuses to fix Mindy’s stereo.
There’s a New Mork in Town: An Orkan comes down to Earth in order to challenge Mork.
Mork Meets Robin Williams: Mindy brings home a record of Robin Williams’ “Reality, What A Concept” and notices that Mork greatly resembles the comedian on the album cover. Mork doesn’t see it but the people in Boulder do because they think he “is” Robin. Robin happens to be coming to Boulder for a live show and Mork is nearly trampled by crazed fans. Mindy gets to interview Robin and brings Mork with her.
Mindy, Mindy, Mindy: Mork attempts at creating clones of Mindy when she goes out of town.
Mork the Swinging Single: Mork becomes a swinger after Mindy suggests he see other single women.
Mork and Mindy Meet Rick and Ruby: Mindy leads a picket line on Remo’s restaurant after he fires an unsuccessful singing duo.
Mork and the Family Reunion: Fred’s estranged brother comes into town for a family reunion, but what happens when Mindy eats an Orkan dessert the night of the reunion?
Old Muggable Mork: When Mindy’s grandmother comes to visit, she is mugged, so Mork disguises himself as an old lady to catch the muggers.
I Heard It Through the Morkvine: Mork goes on television and gives some tasty but hurtful rumors about his friends.
Mindy and Mork: Mindy has to work late hours on a new TV call-in show, “Talk to Dr. Lincoln”, so she asks Mork to help with the housework. When his cleaning efforts turn the apartment into a disaster area, he calls Mindy on the air for advice and nearly gets her fired. When Mindy asks Dr. Lincoln for advice on how to help Mork adjust better to her working, Dr. Lincoln suggests they do a role reversal exercise – so they switch places.
Reflections and Regrets: On Mr. Bickley’s fiftieth birthday, Mindy refuses to share her regret with everyone else as it’s too personal.
Season Four
Limited Engagement: Mork proposes to Mindy.
The Wedding: Against direct orders from Orson, Mork goes ahead with his plan to marry Mindy.
The Honeymoon: Mindy attracts a lot of Orkans when she and Mork spend their honeymoon on his home planet.
Three the Hard Way: Mork discovers he’s pregnant after he and Mindy return from their honeymoon.
Mama Mork, Papa Mindy: The newborn Mearth seems to show more affection for Mork than for Mindy.
My Dad Can’t Beat Up Anybody: Mork pretends to be a superhero for Mearth’s sake.
Long Before We Met: Mork fantasizes about competing for Mindy in high school.
Rich Mork, Poor Mork: Mork makes an investment in a boutique of Exidor “originals”.
Alienation: Mearth runs away upon realizing he’s an alien.
P.S. 2001: Mearth attends school on Ork where he’s teased for being an “Earth-head”.
Pajama Game II: Mearth has a sleepover.
Present Tense: Mork and Mindy are unable to have a conversation while Mearth is away.
Metamorphosis – The TV Show: A short circuit causes Mork and Mearth to switch minds.
Drive, She Said: Mork takes driving lessons.
I Don’t Remember Mama: Orson erases Mork’s family from Mork’s memory in order for Mork to focus on his work.
Mork, Mindy, and Mearth Meet MILT: Following a brief visit from a space traveler, Mork builds a home computer that subsequently takes over.
Midas Mork: Mork learns the secret of turning polyester into gold.
Cheerleader in Chains: Mindy is held in contempt of court for refusing to reveal a source of news.
Gotta Run: Part 1: Mork befriends a Neptunian who has an Earth wife of his own.
Gotta Run: Part 2: In attempt to stop Kalnik, Mork decides to tell the world he’s an alien.
Gotta Run: Part 3: As a result of his notoriety, Mork is faced with fans, marketing executives and Kalnik.
The Mork Report: Mork bucks hard for a promotion from leader Orson on planet Ork, and unintentionally comes up with a report on how to stay happily married on Earth.
Featuring: Leo McKern, Jonathan Coy, Julian Curry, Marion Mathie, Richard Murdoch and Maureen Darbyshire
Horace Rumpole:“An Englishman’s gin bottle is his castle!”
Released this month on DVD is, the now, classic television series “Rumpole of the Bailey” (1978-1992) which sees Horace Rumpole, an elderly London barrister who defends a broad variety of clients, who are all often underdogs, so we see stories from a myriad point of views. Whilst the series can trace its origins back to the 1960s , and some of the plots may seem out of touch or reserved but it can be important to remember when this series was produced so in those terms it is not only extremely entertaining but can help to see where the modern court room drama has served from as well as the A – B plot structure that has become common in modern one hour dramas from the UK and the US not to mention other countries. These are all mostly self contained stories so to does lack the narrative cohesion that some modern dramas have built in.
Horace Rumpole has a number of constant character trait, first and foremost, he loves the courtroom. Despite attempts by his friends and family to get him to move on to a more respectable position for his age, he only enjoys defending his clients (who are often legal aid cases) at the Old Bailey, London’s Central Criminal Court. His skill at defending his clients is legendary among the criminal classes. The Timson clan of “minor villains” (primarily thieves) regularly rely on Rumpole to get them out of their latest bit of trouble with the law. His courtroom zeal gets him into trouble from time to time. Often, his investigations reveal more than his client wants him to know. Rumpole’s chanciest encounters stem from arguing with judges, particularly those who seem to believe that being on trial implies guilt or that the police are infallible. Despite his affection for the criminal classes, Rumpole has firm ethics. He is a staunch believer in the presumption of innocence, the “Golden Thread of British Justice”. He often reinforces this by proclaiming that it is better for 10 guilty men to go free than for one innocent to be convicted. Rumpole’s credo is “I never plead guilty”, although he has qualified that credo by stating on several occasions that he is morally bound to enter a guilty plea if he knows for a fact that the defendant is guilty of the crime of which he/she is accused. But if he has any doubt whatsoever about the facts surrounding the commission of the crime, even if the defendant has confessed to the deed (having stated, and proved, on one occasion that “there is no piece of evidence more unreliable than a confession!”), Rumpole feels equally honour-bound to enter a plea of “not guilty” and offer the best defence possible. His “never plead guilty” credo also prevents him from making deals that involve pleading guilty to lesser charges. Rumpole also refuses to prosecute, feeling it more important to defend the accused than to work to imprison them. (There was one exception, when Rumpole took on a private prosecution, working for a private citizen rather than for the crown, but he proved that the defendant was innocent and then reaffirmed, “from now on, Rumpole only defends”.)
Created by John Mortimer who is best remembered for creating Rumpole, inspired by his father Clifford, whose speciality is defending those accused of crime in London’s Old Bailey. Mortimer created Rumpole for a BBC Play For Today in 1975. Although not Mortimer’s first choice of actor, Australian born Leo McKern played the character with gusto and proved popular; accordingly, the idea was developed into a series, Rumpole of the Bailey, for Thames Television in which McKern again took the lead role. Mortimer also wrote a series of Rumpole books. In September–October 2003, BBC Radio 4 broadcast four new 45-minute Rumpole plays by Mortimer with Timothy West in the title role.
Rumpole as played by Leo McKern jumps off the screen, in fact like many actors who play characters for long stretches the best always imbue themselves with who they play. There are few actors more associated with a character than Australian born McKern who relished his role, in fact it is difficult to think of many others who would have been able to play the role so singularly.
“Rumpole of the Bailey” is one of the great television drams that has ever been made on British television which is saying something considering when it was produced. It has glimpses of what we would call modern dramatic television while maintaining the tradition it has been. built on. This show is something that should be at least viewed once if not part of any collection. I loved re-watching these shows, they not only brought back memories but reminded me of how good the show was and how great McKern portrayed this magnificent character.
Episodes
Series One
Rumpole and the Younger Generation: Rumpole is defending a young member of the Timson clan, an extended family of light-fingered but otherwise moral South London villains. To his distress, his own son appears to be acquiring some of the Timson traits.
Rumpole and the Alternative Society: Rumpole defends a hippie-type schoolteacher on a narcotics charge and finds himself attracted to her and her lifestyle.
Rumpole and the Honourable Member: An MP is accused of raping one of his assistants, and seems reluctant to defend himself. Rumpole is left with only one line of defence; attack the complainant’s character, thereby infuriating his son’s American fiancée.
Rumpole and the Married Lady: After a long spell without cases, Rumpole is apparently divorcing his old friend and colleague George Frobisher. His client meanwhile threatens to drive Rumpole’s wife Hilda (She who must be obeyed) into the arms of her friend Dod.
Rumpole and the Learned Friends: Rumpole accuses a dishonest policeman of framing his safecracker client and finds himself in legal trouble when he can’t back up his claim.
Rumpole and the Heavy Brigade: Rumpole returns to bloodstains as he defends an stuttering, apparently mentally-challenged petty crook on a murder charge.
Series Two
Rumpole and the Man of God: Rumpole defends a vicar accused of shoplifting three shirts although he refuses to testify in his own behalf.
Rumpole and the Case of Identity: One instance of marital infidelity is at the root of Rumpole’s current case involving a liquor store robbery while another threatens the stability of his chambers.
Rumpole and the Show Folk: Rumpole goes on Circus, or rather on Circuit, in the north, where an actor and theatre manager has been shot with a stage prop. The case seems clear-cut, but everything depends on how one reads the script.
Rumpole and the Fascist Beast: Captain Rex Parkin of the Pay Corps (retired) is charged with an offence under the Race Relations Act, and finds to his horror that Rumpole has taken under his wing a pupil barrister from the Punjab.
Rumpole and the Course of True Love: What appears to be an uncontrollable outbreak of bed-hopping is about to ruin the chances of Guthrie Featherstone QC MP becoming a judge, and Rumpole’s client’s career as a teacher.
Rumpole and the Age for Retirement: Both Rumpole and his current client, Percy Timson, one of the patriarchs of the criminal clan, are under pressure by their families to retire.
Rumpole’s Return: A bored Rumpole living in Florida retirement uses an inquiry from Phyllida as a pretext to re-establish himself back in chambers.
Series Three
Rumpole and the Genuine Article: Rumpole defends an eccentric artist in a forgery case before the newly appointed Judge Featherstone.
Rumpole and the Golden Thread: Rumpole agrees to defend a cabinet minister of a former British African colony accused of murdering a prominent clergyman.
Rumpole and the Old Boy Net: A seemingly respectable old school couple arrested for running a brothel for upper-class clients are reluctant to help in their own defense.
Rumpole and the Female of the Species: Rumpole defends a petty thief on charges of armed robbery while trying to get Fiona accepted into his chamber.
Rumpole and the Sporting Life: Rumpole reluctantly agrees to defend Fiona’s sister, who’s accused of murdering her husband with a shotgun.
Rumpole and the Last Resort: Rumpole tries to collect an old debt from an elusive deadbeat solicitor while defending a vacation planner on fraud charges.
Series Four
Rumpole and the Old, Old, Story: After a fight with his wife Rumpole stays with Erskine-Browns and finds that Portia is prosecuting one of his clients.
Rumpole and the Blind Tasting: Rumpole defends career criminal Hugh Timson for receiving a garageful full of stolen wine.
Rumpole and the Official Secret: Rumpole defends an eccentric spinster accused of being a government whistle-blower.
Rumpole and the Judge’s Elbow: Rumpole defends the smarmy owner of a string of massage parlors on the charge of running “disorderly houses” (i.e. bordellos).
Rumpole and the Bright Seraphim: After an army sergeant is found stabbed to death wearing a woman’s dress, Rumpole is assigned to defend the accused murderer.
Rumpole’s Last Case: While defending one of the Timson clan, Rumpole makes an exotic horse racing bet which may allow him to retire if he wins.
Series Five
Rumpole and the Bubble Reputation: A notorious tabloid hires Rumpole to defend it in a libel suit being brought by a puritanical novelist it has accused of sexual promiscuity.
Rumpole and the Barrow Boy: Nigel Timson, one of the few members of the notorious Timson clan to have a legitimate job, is defended by Rumpole on a charge of insider trading.
Rumpole and the Age of Miracles: Rumpole defends Hilda’s nephew, a canon who has accused of adultery in an ecclesiastical court.
Rumpole and the Tap End: Featherstone’s controversial remarks and ruling in a domestic violence case causes fallout from women’s rights groups and concern from the Lord Chancellor.
Rumpole and Portia: Rumpole defends a scrap dealer accused of selling arms to terrorists while Phyllida presides at the trial in her newly appointed job as recorder.
Rumpole and the Quality of Life: Rumpole defends Lady Perdita Derwent, charged with the murder of her elderly husband. Meanwhile, Ms Liz Probert complains of anti-gay discrimination at number 3, Equity Court, and the portly Rumpole suffers from a strict diet imposed by She Who Must Be Obeyed.
Series Six
Rumpole a la Carte: Rumpole agrees to defend an elitist restaurateur whom he dislikes when a live mouse jumps out from one of his gourmet meals.
Rumpole and the Summer of Discontent: Rumpole defends a union activist accused of manslaughter while Hilda goes on strike as Rumpole’s cook because of his late hours.
Rumpole and the Right to Silence: A radical college professor accused of murder refuses to disclose his alibi while Ballard and Erskine Brown learn domestic lessons about the right to silence.
Rumpole at Sea: While on a Mediterranean cruise, Rumpole is confronted with his old nemesis, Judge Graves, and the unexplained disappearance of one of his fellow passengers.
Rumpole and the Quacks: Rumpole defends a Pakistani doctor accused of molesting a female patient, and Phyllida suspects Erskine-Brown of philandering.
Rumpole for the Prosecution: Rumpole agrees to prosecute for the first time in a private complaint brought by the rich father of a murdered girl.
Series Seven
Rumpole and the Children of the Devil: A well-meaning social worker takes custody of an eight year-old Timson girl charging that the family is involved with devil worship.
Rumpole and the Miscarriage of Justice: Rumpole finds himself in the unusual position of defending a police officer on a charge of falsifying a confession.
Rumpole and the Eternal Triangle: After becoming enamored of a beautiful violinist, Rumpole finds himself defending her husband on a charge of murdering her lover.
Rumpole and the Reform of Joby Jonson: Rumole defends a juvenile delinquent on charges of assaulting an elderly woman, and Hilda is concerned when a burglar breaks in to steal evidence from his briefcase.
Rumpole and the Family Pride: The suspicious drowning of an anonymous old woman on an estate prompts the Lord to invite his cousins, the Rumpoles, for the weekend, and he asks Horace to represent him at the inquest.
Rumpole on Trial: When Rumpole is charged by Judge Oliphant with contempt of court and faces disbarment, Hilda persuades Sam Ballard to defend him.
Featuring: Kenneth Branagh, Emma Thompson, Andy García, Derek Jacobi, Wayne Knight and Robin Williams
Cozy Carlisle:“Someone is either a smoker or a nonsmoker. There’s no in-between. The trick is to find out which one you are, and be that. If you’re a nonsmoker, you’ll know.”
Critical Commentary
Released on Blu-ray for the first time almost anywhere is the Kenneth Branagh directed and starring fantasy noir thriller “Dead Again” (1991), which was also his first Hollywood movie after making waves with his Shakespearean adaptation “Henry V” (1989), that was nominated for three Oscars, both also feature then wife Emma Thompson in the co-lead roles. There is much to enjoy about “Dead Again”, it operates very well for what it is a thriller that spans two seperate time period with elements of reincarnation or mysticism thrown in for good measure. Of course having Branagh as director lends the movie some immediate credibility, and now decades later having screenwriter Scott Frank included seems prescient, it also shows the budding screenwriter trying something unique for such an early effort.
There is much to really enjoy with “Dead Again”, not only is it a period thriller as well as containing fantastical elements that could almost be called ‘real’, at least treated that way within the narrative which is actually refreshing. The movie not only plays with that period aspect but juxtaposes it with the modern world with a Holy Grail aspect that feels fun with stops along the way to meet wild and interesting people within both timelines. The movie also gives the opportunity for the leads to play two parts with different agencies of character as well as looking at inherited traits while combining it with a very recognisable genre or even sub-genre.
The movie begins with shots of newspapers that detail the 1949 murder of Margaret Strauss, who was stabbed during a robbery; her anklet is missing. Her husband, composer Roman Strauss, is found guilty of the crime and condemned to death. Before his execution, Roman is visited by reporter Gray Baker. Asked if he killed Margaret, Roman appears to whisper something in Gray’s ear. Baker does not disclose Roman’s answer. Forty years later, private detective Mike Church investigates the identity of a woman who has appeared at the orphanage where he grew up. She has amnesia, cannot speak and has nightmares. Mike takes her in and asks his friend, Pete Dugan, to publish her picture and his contact information. Antiques dealer and hypnotist Franklyn Madson approaches Mike, suggesting that hypnosis may help her recover her memory. “Dead Again” follows familiar tropes with archetypal characters which many might find familiar, a good thing for what it brings up in terms of the fantasy element which I actually really enjoyed.
After such a successful debut as “Henry V” it was interesting that Branagh chose this movie as a follow-up but the one thing that the director has proven a love for is genre movies which a part from his Shakespearean efforts his oeuvre is littered with. The director and writer, here collaborate using false narrators, black and white footage, flashbacks, a lot of high profile actors and a plot that weaves the natural chemistry both Branagh and Thompson have together being partners at this time in business and of a personal nature.
The casting of Emma Thompson and Kenneth Branagh in the leads was a no brainer at this stage in both their careers, they have great chemistry and play two characters each with skill as well as believability which is saying something considering the leaps in narrative that they both take. It is interesting that this movie has become a mediation on relationship in real life, not literally but it may not be a coincidence that the couples relationship is tested here in fiction and later in reality. The same kind of thing is present, although with “Dead Again” to a far lessor extent, in “Eyes Wide Shut” (1999) with a real life couple, Tom Cruise and Nicole Kidman, putting their own relationship thought the ropes which ultimately ended in divorce. “Dead Again” also cast a number of high profile actors that obviously wanted to work with Branagh, so we have Andy García, Derek Jacobi, Wayne Knight and Robin Williams all making great contributions, they would also appear in other Branagh movies.
Now while this movie has dated and the plot and narrative may seem a little simple it is still a welcome addition to any collection, it still has some pretty major talent and pedigree behind it, with the launching of a host of Hollywood careers in not only Branagh, Thompson, Scott Frank but also introduced audiences to a group of people that would shape movies for the next four decades.
Technical commentary
Video
Imprint have transferred Kenneth Branagh’s “Dead Again” to Blu-ray. It is on a dual-layered disc with a high bitrate, in the 1.78:1 aspect ratio, and looks very consistent in 1080P. It is very clean with a few light speckles, plenty of depth and impressive detail in close-ups. There is grain – not in abundance but is visible not appearing to be scrubbed. Mostly looking solid it does have a few scenes that showcase the HD presentation very well.
Audio
Imprint give the option of a very robust DTS-HD Master 5.1 surround track or a linear PCM stereo track (both 24-bit) in the original English language. There are some surprising separations and the film’s audio is a significant part of the viewing experience.
Special Features
1080p High Definition Presentation
Audio commentary with producer Lindsay Doran and screenwriter Scott Frank (2002)
Audio commentary with director and star Kenneth Branagh (2002)
Theatrical Trailer
English subtitles for the deaf and hard of hearing
Featuring: Sean Penn, Christopher Walken, Mary Stuart Masterson, Chris Penn, David Strathairn, Crispin Glover, Kiefer Sutherland and Eileen Ryan
Brad Whitewood Sr.:“Most people who drive through here see farms. Houses, and fields, and shit. I see money, I see things, everything got my name writ’ on it!”
Released this week on blu-ray is the drama/thriller “At Close Range” (1986) a movie based on real incidents and people with a healthy dose of dramatic license but produced, directed and featuring actors who were all in early stages of their careers, and who are almost all still working in the motion pictures. “At Close Range” could is very definitely a drama with thriller undertones as well as some nourish elements that at its heart features a father/son dynamic that is at once complicated but illustrates the differences in people, their values as well as those relationships that help form them, it is also a movie about choices that are made everyday that influence and inform everything that we do as humans to ourselves and each other. “At Close Range” is the type of movie that is rarely made in todays marketplace, a true drama/thriller that is low-key in execution but has top performances that make it a familial story that is complex, tackles human dynamics and in fact may not have a satisfying Hollywood ending, it asks more questions than it answers and almost sets the major characters up as both antagonists and protagonists, in other words it attempts reality in a milieu that is known for anything but.
In watching “At Close Range” there are few elements that are immediately apparent, they are the absolutely fantastic performance on offer from almost everyone, but especially the leads, Sean Penn and Christopher Walken who are so good that it proves how reliable they have both been over the past five decades. There is also the assured direction from Foley, the great script from Kazan as well as some haunting music by Patrick Leonard and an assist from Madonna with the hit single ‘Live to tell’. All of these parts from a whole that is greater than the sum of its parts which leads to the question as to why this movie was not at the very least successful, at the most a hit. The reasoning is that at the time “At Close Range” was released it was not only lost on its opening weekend but the distribution company failed to properly market it, so it failed only being rediscovered on VHS, DVD and now blu-ray.
“At Close Range” is based around Brad Whitewood Sr., a career criminal and the leader of his family’s gang of rural back-door criminals. Sr’s criminal enterprises intersects when his son, Brad Whitewood Jr., a floundering, out-of-work teenager living in near squalor with his mother, grandmother, brother and mother’s boyfriend, comes to stay with him. When his father shows up in a flashy car with a pocket full of hundred dollar bills, Brad Jr. formulates a desire to join his father’s life of crime. At first Jr. starts a gang with his brother, Tommy, fencing their stolen goods through Brad Sr.’s criminal network. As a result of entanglements with his 16-year-old girlfriend, Terry, Brad Jr. seeks full entry into his father’s gang, but after witnessing a murder he tries to back out. Eventually Brad Jr’s gang is arrested while attempting to steal tractors, and the FBI and local law enforcement attempt to lean on Brad Jr. to get him to turn evidence on his father’s gang. There is familiarity within the plot but that does not lessen the plot’s impact on an audience, in fact it illustrates perfectly that family relationships are complicated no matter the setting.
Written by Nicholas Kazan and directed by James Foley “At Close Range” is a solid piece of film-making, Kazan had already had a handful of scripts produced while this was Foley’s second movie after his surprisingly good “Reckless” (1984). The quality of the production begins with them, it is a solid script adapted from a non-fiction book that retains the important themes as well as leaving room for the actors and the director to stamp their own creativity on the production. In fact in terms of Foley’s career this is an important movie as it not only set up his style, the way he would work but the next ten years of his working life, his work with Madonna, the trust well known actors would have in him, his links to popular music and his Mamet adaptation, “Glengarry Glen Ross” (1992) would secure his reputation as a professional that could handle complex material as well as meeting high expectations that continues today. “At Close Range” is directed as a contemporary drama (for its day) but is also heavily stylised and noir influenced which helps guide an audience through a family story that is within a recognisable genre.
This is also a movie with a cast that is littered with not only great leads but has a number of fantastic character actors that all shine in larger and smaller ways. Of course “At Close Range” is led by Sean Penn and Christopher Walken who are both fantastic as son and father, with a complex relationship that evolves throughout the movie made believable by their performances. The movie is further bolstered by some great performances by Mary Stuart Masterson, Chris Penn, David Strathairn, Crispin Glover and Kiefer Sutherland who were all in their infancy in terms of their careers but you can see the talent within, it is not surprising they all found success with their careers on their own terms which may indicate why all the actors give great performances, they all manage to standout at different times for very different reasons. After thirty years not only do their performances stand up but so does the movie itself.
There is a very good reason why some movies survive their initial release, becoming successful with each passing decade, in terms of “At Close Range” that has arrived on at least four different formats it is a complicated yet simple reason for its success, it starts with the plot but continues through to the writing, the direction and of course the performances of the actors that all belies its complex nature which is its heart a family drama not only about father and sons, but also what people are willing to do to themselves as well as each other. I recommend this movie highly to anyone that loves good stories, great performances as well as believable action.
Technical Commentary
Video
“At Close Range”’ comes with a good 1080p HD transfer presented in 2.35:1 aspect ratio. This MGM catalog film has some problems, starting with some image stability, particularly at the beginning of the movie. It lets up quite a bit as the movie goes on, but it’s a little distracting. In addition to that, a lot of the film is shot in very low light conditions, which has this image suffering a bit from shadow detail and crush, as well as having the color and detail pop. However, in the well-lit scenes, the film has fairly good detail and bright colors that pop off screen. The detail reveals fine facial features and great textures in the costumes in both closeups and wider shots. There is also a nice layer of grain that keeps this movie in its filmic quality, never really fluctuating into heavy territory. The black levels are mostly deep and inky and the skin tones are natural. There are no real major compression issues, although there are still some instances of some dirt, scratches, and debris that pop up.
Audio
This release comes with a lossless DTS-HD MA 2.0 mix and sounds very good for what it is. This is very dialogue-heavy film that has some excellent suspenseful scenes of actions that pack a nice punch. The dialogue is always crystal clear and easy to follow as well, and free of any pops, cracks, hiss, and shrills. The score always adds to the suspense in each scene, while never drowning out any of the dialogue or sound effects, leaving this audio presentation with solid marks.
Special Features
1080p presentation of the film on Blu-ray Audio commentary with director James Foley and film historian Nick Redman (2015) Interview with director James Foley (2018) “Crime in Pennsylvania, The Real Johnston Gang” Interview with former reporter and author of “Jailing the Johnston Gang” Bruce Mowday (2020) Interview with Composer Patrick Leonard (2020) “Badlands” short location video of key geographic locations of actual events. (2020) Isolated Score
Written by: Tracy Tormé based on The Walton Experience by Travis Walton
Directed by: Robert Lieberman
Featuring: D. B. Sweeney, Robert Patrick , Mike Rogers. James Garner, Craig Sheffer, Scott MacDonald, Henry Thomasand Peter Berg
Lieutenant Frank Watters: “I’ve been on a case since you disappeared. Where have you been the last five days?”
Travis Walton: “I can’t remember.”
Lieutenant Frank Watters: “Dr. Wilson over at the hospital tells me you went without food and water all that time. Was it worth it?”
Travis Walton: “I don’t know what you’re talking about.”
Critical Commentary
Making its debut on blu-ray and in Australasia only is the science fiction movie “Fire in the Sky” (1993) purportedly from a true story by one Travis Walton about an alien abduction and of course return in the mid-1970s. Of course there have been many critical of Walton’s story especially those in the UFO community, nevertheless this does not effect this movie as “Fire in the Sky” is not only still a ripping good story, but this production still holds up, not only due to the tight storytelling, the still very good special effects but the quality of the cast who are not only still very recognisable but all have very good genre backgrounds. Now with its release on blu-ray, it is a welcome reminder of the kind of movies and television that was being made in the 1990s, there was an abundance of sci-fi being produced, in fact in the same year this movie was released Chris Carter would unleash the genre hit “The X-Files” (1993-2018). Of course it is inescapable that this movie does at times play like an extended episode of that show, which looking back makes it not only understandable but a little paint by numbers.
“Fire in the Sky” is begins in November, 1975 in Snowflake, Arizona, logger Travis Walton (D. B. Sweeney), and his co-workers—Mike Rogers (Robert Patrick), Allan Dallis (Craig Sheffer), David Whitlock (Peter Berg), Greg Hayes (Henry Thomas) and Bobby Cogdill (Bradley Gregg)—head to work in the White Mountains. Driving home from work, the loggers come across an unidentified flying object. Curious to learn more, Walton gets out of the truck and is struck by a bright beam of light from the object and is sent flying several feet backwards as if pushed by an unseen force. Fearing Walton has been killed, the others escape from the scene. Rogers decides to go back to the spot to retrieve Walton, but he is nowhere to be found. Making their way back to town to report the incident, the loggers are met with skepticism, as they relate what sounds like a tall tale to Sheriff Blake Davis (Noble Willingham) and Lieutenant Frank Watters (James Garner). They are suspected of foul play despite no apparent motive or knowledge of Walton’s whereabouts. I will not give away anything more but the narrative is told mostly in flashback from a few points of view, meaning the tension is heightened, although the plot does become fairly obvious. In the intervening years since not only the book it is based on, but this movie there have been many people that have debunked this, but it still makes for greta viewing.
“Fire in the Sky” was adapted by Tracy Tormé and directed by Robert Lieberman, both of whom were workmanlike creatives and who had experience in the sci-fi genre which shows in the plot and narrative that they have created, it not only looks great but movies along at a pace so that audiences are moving forward with revelations every so often as to keep them guessing as to what will actually happen next. Of course a movie like “Fire in the Sky” depends on how successfully the characters come across as not only believable but are worth caring about, so Tormé has given over enough of the first part of the narrative to setting up the main characters as good, honest and hard working while introducing the supporting characters with a wide array of personalities that are all archetypes of who you might find in a group especially those required in a sci-fi movie. So we have a tough bad guy, a young person, a religious person and a general mid western person who fit together but are always at each other until they are all drawn together to find out what happened to the hero of the story, Travis Walton.
With the cast in mind the movie is led by D.B. Sweeney who at the time was one of many young actors who were attempting to make their mark as leading men, Sweeney could have done worse than “Fire in the Sky” to make a mark, in fact up to this point he had appeared in some very well received movies. Here he plays the part as you might expect all ego driven at first then terrified by the end, he does a very good job, but for some reason this would be the last time he would lead a high profile piece, for the past twenty five years or so he has become a reliable character actor. In fact the same could be said for the rest of the cast with the two highest profile actors being Robert Patrick and Peter Berg as the exception, Berg is now an almost A list director and Patrick is one of the more recognisable movie and television characters actors working today. The cast all make the parts their own, even if there is a little overacting at times, which does suit the material, what is fun is seeing one legend in the always great James Garner who plays an investigating officer to perfection, as well as Noble Willingham as the local Sheriff, one of the best action character people who ever lived. This movie is made all the more palatable by these actors who really are a bit better than the material, of course they are all memorable in a sci-fi classic.
Many of the special effects movies from the 1990s onwards once released on blu-ray can sometimes look a bit amateurish especially if they are contingent on those effects to portray a believable story, one that comes to mind is the Charlie Sheen led “Arrival” (1996) which is heavy on effects and to be fair looks terrible by todays standards. What “Fire in the Sky” wisely decided was to eschew wide expensive effects shots with reactions from actors faces on what is happening with close-ups or lighting effects which work incredibly well and help protect this movie from ageing. Many of the big effects are left for Waltons retelling on what happened to him, but again instead of unproven CGI there is an abundance of in camera effects as well as closeups to mitigate budget and effects concerns, it works wonderfully, even in 2021.
Say what you want about the ‘actual’ events that occurred n November 1975, “Fire in the Sky” is still a very good movie with a lot to offer, it has a great conversion to blu-ray and would be a welcome addition to any collection, for me this is a must buy and the catalog release of the month.
Technical commentary
Video
Presented in an aspect ratio of 2.35:1, encoded with MPEG-4 AVC and granted a 1080p transfer, “Fire in the Sky” arrives on Blu-ray courtesy of Via Vision Entertainment.
The release is sourced from an older master that was supplied by Paramount Pictures. It is a solid master, although a new 4K or 2K master would introduce a more refined organic grain structure, delineation and clarity range from good to very good, and in some areas even excellent.
Audio
There are two standard audio tracks on this Blu-ray release: English: DTS-HD Master Audio 5.1 (48kHz, 24-bit) and English: LPCM 2.0 (48kHz, 24-bit). Optional English SDH subtitles are provided for the main feature. When turned on, they split the image frame and the black bar below it. The 5.1 track is the best, there are quite a few sequences where it significantly opens up the audio field. It has a very fine range of dynamic nuances, which tells me that when the current master was prepared it was optimized as best as possible.
Special Features
Audio commentary with director Robert Lieberman
“Fear From Above: The Practical Effects of “Fire in the Sky”: Interviews with visual effects art director Harley Jessup & visual effects supervisor Michael Owens.
“Borrowed Time: Scoring Fire In The Sky” Interview with Composer Mark Isham
“Five Days Gone: The Travis Walton Experience” Interview with Author Travis Walton
“We Gotta Go Back: Robert Patrick On Fire In The Sky” Interview with Actor Robert Patrick
“Touched By Light: D.B Sweeney on Fire In The Sky” Interview with Actor D.B.Sweeney
Legendary Entertainment and Warner Bros. Pictures have released the first trailer for “Godzilla vs. Kong” which will hit cinemas and HBO Max simultaneously on March 26th.
The Adam Wingard-directed flick is the fourth and final planned film in Legendary’s MonsterVerse following 2014’s “Godzilla,” 2017’s “Kong: Skull Island,” and 2019’s “Godzilla: King of the Monsters”.
In the film, Godzilla and Kong are on a collision course in a spectacular battle for the ages as Monarch embarks on a perilous mission into uncharted terrain and unearths clues to the Titans’ origins.
Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza Gonzalez, Jessica Henwick, Julian Dennison, Kyle Chandler, and Demian Bichir star.
Written by: Oliver Stone and Michael Cimino based on Year of the Dragon by Robert Daley
Directed by: Michael Cimino
Featuring: Mickey Rourke, Ariane Koizumi and John Lone
Stanley White:“The first time I saw you, I hated your guts. I think I even hated you before I met you. I hated you on TV. I hated you in Vietnam. You want to know what’s destroying this country? It’s not booze. It’s not drugs. It’s TV. It’s media. It’s people like you. It’s vampires. I hate the way you make your living sticking microphones in people’s faces. You lie every night at 6:00. I hate the way you kill real feelings. I hate everything that you stand for. Most of all, I hate rich kids and I hate this place. So why do I want to fuck you so bad?”
Recently released on blu-ray “Year of the Dragon” (1985) is an oddity of a film, on one hand it was the third effort by writer/director Michael Cimino who had made one of the more memorable sophomore movies of all time with the timeless “The Deer Hunter”(1978), but on the other it had become apparent he had control issues as well as an ego that had no limits, which would not only have an effect on this movie but everything that would follow and had been highlighted with the monumental financial disaster that was “Heavens Gate”(1980). In co-writing and directing “Year of the Dragon” it may have seemed like a safe bet, a contemporary film based in a community that was largely unexplored in Hollywood which also featured a rising star in Mickey Rourke all wrapped up in a healthy dose of action and intrigue. However what transpired was a rushed production with a very uneven performance in the performances of the European actors and dialogue and actions that many took for being racist, some of this is fair, but some is short sighted, much like the muddled screenplay. This is a fish out of water story that feels false, unlike a similar movie that would arrive years later with another visual stylist in the form of Ridley Scott’s “Black Rain” (1989), which despite being set around Japan would actually take the main character to that country, something that maybe should have happened in “Year of the Dragon”.
It had been a number of years since I had viewed this movie, on DVD, and the first thing that struck me was the central performance by Mickey Rourke which ti be kind is extremely uneven from scene to scene, in fact sometimes within the same scene which can be jarring if you let it, which unfortunately I did. The reason for this is that he was a late addition to the movie as the actors that were wanted turned it down, not only that but Rourke, at the time in his early thirties was attempting to play a world weary ex-Vietnam vet in his early fifties, something he really does not do believably. In terms of elements that hinder Rourke’s performance of which there are a few is the way in which his hair colour, style and costuming change, again sometimes from scene to scene, this adds to the unevenness of the entire movie.
“Year of the Dragon” is based around Stanley White (Mickey Rourke) New York’s most decorated police Captain and a Vietnam War veteran assigned to New York City’s Chinatown, where he makes it a personal mission to crack down on Chinese organized crime. He is obsessed with his career and neglects his marriage to his wife Connie. To say this is a movie of many plot strands is an understatement to say the least, whereas some movies will seamlessly tie in these strands, “Year of the Dragon” treats each one seperately, they never really coalesce and in fact are disjointed so as to be confusing with an ending that is frankly baffling in terms of any kind of reality.
As has been stated “Year of the Dragon” was co-written and directed by one time boy wonder and double Oscar winner Michael Cimino who had reached the highs of “The Deer Hunter” (1978) and the relative lows of “Heavens Gate” (1980), with this movie he was obviously attempting to get back on his feet, but due to some elements out of his control this was yet another nail in his career. This was a movie with a messy screenplay, uneven performances and a messed up tone, however if watching closely and highlighted by a very good blu-ray transfer there are some parts to enjoy and show Cimino knew how to direct a feature. The mis en scene as well as the colour palette used with the movie are staggering, much like Cimino’s previous films that look stunning, feature a breathtaking amount of detail and create worlds that you believe actually exist, of course his budgets reflected that as well. No matter what people say about the director he was technically a very good director and maybe not a fantastic screenwriter, it may be no co-incidence that his biggest success was credited to four seperate scriptwriters. Interestingly this movie was mostly filmed on a lot, even the exterior shots are filmed inside, this is amazing as Cimino uses deep focus at times and I defy you to pick the outside from the inside, it is an amazing job.
I have already addressed Mickey Rourke’s performance, but his is not the only one, the best performance in my mind is that of John Lone who plays Joey Tai, the head of a criminal empire who seems to know how to adjust his performance, although to be honest his role is the most straight forward, he is the bad guy and a criminal. The rest of the cast seem lost, again this may be due to the rushed nature of the production, actors never really knew who they were portraying at a given time, which harms this movie to no end. The love interests in the movie played by newcomer Ariane (who had such negative reviews, unfair by the way, never really worked in movies again) and Caroline Kava whose character was a one dimensional shrill who seems to be a nemesis at home, but is never really believable and like Rourke was far younger than the person she was to play which is patently obvious and so never really works.
It is unfortunate that “Year of the Dragon” has not aged well at all, whilst it is not a racist movie at all, it is about racist people, the language that is used seems odd and out of date, for the time it may have been acceptable but now seems out of step. Not only that but the main story seems too simplistic, even for 1985, there are few surprises at all, in fact there is a period of the movie when Joey Tai goes to purchase his drugs and this seems far more interesting and political than the cops and robbers plot. The personal life of Stanley White is a complete non-starter, he would have been far more interesting without a wife, being a complete professional without fear or favour, because his racist element makes little sense either. As for White’s love interest in Tracy Tzu, she seems complicated in the writing but I cannot help but feel her best aspects either were not filmed or were left on the cutting room floor.
If you are a fan of either Cimino or Rourke then this might be up your alley, I for one am glad it is available on blu-ray as the transfer is very good, I watched it on a 4K TV and at times was blown away for a movie made in 1985. If you are looking for a deep and meaningful anaylsis of Chinese and Chinese Americans in the 1980s give it a miss.
Special Features
1080p presentation of the film on Blu-ray Audio commentary by Director Michael Cimino (2005) Audio Commentary by Film Critic Peter Tonguette (2020) “From Heaven To Chinatown: David Mansfield on Michael Cimino” (2020) Prince of The City: Talking Triads, Cops & New York’s mean streets with author Robert Daley (2020) Theatrical Trailer
Featuring: Jamie Dornan, Anthony Mackie, Katie Aselton and Ally Ioannides
Steve:“Back to the Future is full of shit.”
With many movies choosing to be released online especially on Netflix, Amazon, Hulu, Disney+ and a host of others there are going to be many gems that will be overlooked, one of these, possibly, is the latest from duo Justin Benson and Aaron Moorhead, in “Synchronic” (2019), a fantasy inspired time travel story that puts people at the heart of the story with the sci-fi/fantasy aspects very much in the rear window. In my view this makes “Synchronic” one of the better genre movies around, especially from the last few years, as it takes tropes that we all know. especially in terms of time travel, twisting them slightly so as to make it not only surprising but illustrates how it is possible to make something original out of a sub genre that may seem played out. In fact if you have followed the writer/directors earlier movies “Synchronic” will be pleasing in that it not only does not stray too far away from the originality and quality of those movies but it ups the ante in terms of scope, budget, behind the scenes personnel and of course employing four very experienced actors in front of the camera in Jamie Dornan, Anthony Mackie, Katie Aselton and Ally Ioannides who all not only play their parts well but are obviously into the idea of this movie as a whole.
“Synchronic” is based around Steve a ladies man and Dennis who is married with two children. In their work as paramedics on the late shift they begin to encounter a series of people dead or in a strange state. After some exploration they discover it relates to a new designer drug, Synchronic. Steve discovers he only has six weeks to live and decides to buy up all the Synchronic in town to protect others – only to discover he has a time travel pill that may help to find his partner’s missing daughter. Steve chronicles how the pill works with different forms of ingestion affecting different scales of time travel until he finally returns to the tension of trying to discover what happened to Brianna.
There are many strengths to this movie, but it all begins with writer/directors Justin Benson and Aaron Moorhead who over the past few years have produced some very original movies that could be said to be influenced by H.P. Lovecraft, as has the entire horror genre for many decades. However where these filmmakers differ is that they have taken the spirit of the author and infused it into their two earlier works, those being “Resolution” (2012), but especially “The Endless”(2017) which features a creature that could be an element of the Kthulu legacy itself. Both of these movies were not only inventive but were also visually striking especially as they were made on very low budgets. Of course with low budgets involved one of the first elements that suffer is the general narrative and plot, which can mean a general loss of cohesiveness but the filmmakers made this work for them and incorporated this into the movies themselves making them feel original and not self-serving. Now with a larger budget as well as very well known actors there has to be cohesiveness in the narrative and plot which to the filmmakers credit there is, it has a fully formed beginning, middle and end without losing originality or a visual tone. It would be easy to bend a story or characters around actors who have had huge successes and are far more experienced, but to their credit Benson and Moorhead have created an excellent genre movie that feels familiar and new, something difficult to do in a crowded marketplace, it helps explain how it got into last years TIFF.
In their previous films the directors have used relatively simple set-ups, locations and relatively simple special effects but with this new endeavour there are far more locations that are used in busy environs, more complex set-ups with special effects that are used subtly, even the time travel effects are low key which for me is welcome. It means that the time travel aspects seem to be part of the natural world, unlocked chemically not in a physical sense like other genre movies. The narrative of the movie is just as important as the plot which is de rigour for a time travel movie but the directors have used their skill to pointedly illustrate how race relations may have not moved forward much at all. Oddly or to make a point the drugs that are required are found in a type of vape store which in some ways is as white as one can get, we actually see a majority of white people using this drug indicating that any break throughs are not only class based but race based as well.
In dealing with low budget genre movies it can be difficult to cast well known quality actors but with “Synchronic” the directors have cast some well known dramatic as well as genre actors in the leads, Jamie Dornan and Anthony Mackie. In both cases these leads not only offer their acting talent but also some immediate box office clout as well as recognition in the popular media. Whilst their is some playing to stereotypes with the white character having a family and the African American being a party guy with little family around him there are nice variations with Mackie having the job to not only experiment with the time travel aspect but also the intelligence to work out how all the sci-fi elements work. The other aspect of the movie that we see through Mackie’s eyes are the racial elements that which we witness through different time periods and are unfortunately all too familiar, it actually makes fro some depressing viewing when compared to the US of today. Of course this is also a film about sacrifice, life itself and what it means to be able to offer one by using another in an ultimate way for people that have become a family, it asks what would you do and Mackie’s character answers that question almost without hesitation. Both leads inhabit their roles as do Katie Aselton and Ally Ioannides in minor supporting roles who you can tell believe in the material.
Like the directors previous works there are rules in their Universe although unlike those other efforts “Synchronic” has rules that are set out on screen in experiments carried out by the Anthony Mackie character in some great inventive ways, almost like one could imagine doing themselves. I will not spoil the general conceit to the rules in this time travelling Universe but they seem unique in not only how the time travel is activated but when someone can travel as well as for how long, which taken at face value makes sense. Of course a time travel movie would not be complete without some events in the past effecting the present, which we have but in an emotional way, in fact there is emotion heavily leveraged in all the times there is time travel used. I have seen many genre movies that involve aspects of time travel and this one I enjoyed highly, especially considering the lack of special effects, budget and the way jeopardy is used.
To say the time travel genre has been done to death is an understatement indeed, but “Synchronic” adds a twist on this with excellent results, it is most pleasing to watch a movie like this with surprises throughout as well as a well thought out plot that marries itself well to the narrative. What I also enjoy seeing is new writer/directors showing real improvement with each subsequent movie, I cannot wait for their next effort which I imagine will contain some real genre flourishes as well as originality in a medium that at most times sadly lacks.
