Written by: Michael Wilson and Harry Brown based on An American Tragedy by Theodore Dreiser
Directed by: George Stevens
Featuring: Montgomery Clift, Elizabeth Taylor, Shelley Winters, Anne Revere and Raymond Burr
George Eastman:“I love you. I’ve loved you since the first moment I saw you. I guess maybe I’ve even loved you before I saw you.”
Recently released on Blu-ray is the George Stevens produced and directed “A Place in the Sun” (1951) that remains as vital today as it was over sixty years ago when it was initially released. When bonafide classics are released into the home market, especially those that were produced before the 1970s there is a tendency to view them two ways, firstly through the eyes of the present which means no matter how good they are there is a tendency to judge them through modern eyes which means they can come across as overrated and out of time. The second way is to appreciate them for what they are, where and when they are from and the technology that was available both in front of and behind the camera. I tend to opt for the second option, that means I am never let down and appreciate what I am actually seeing, where we as people have come from and how far we have to go. With “A Place in the Sun” which is a movie I really enjoy, there is much to enjoy from the all around performance, to the direction as well as the scope of the story, sure it can be melodramatic and some of the plot points may seem old fashioned but relating it to modern times is not difficult especially with the lack of upward mobility and the disappearance of an actual middle class.
There are many reasons to watch the movie, it is director George Stevens first ‘great’ film before he would direct James Dean in his last film the sprawling and magnificent “Giant” (1956) as well as a few years before the always watchable and often quoted “Shane” (1954), although Stevens was a very good director, up to “A Place in the Sun” he had directed twenty movies, it was this late career output he will be remembered for. “A Place in the Sun” is about love and class, which are still relevant but in 1950s America it was something else for young people to overcome. Because this movie is set up from the man’s point of view as well as his own ambitions which seem tame in today’s world the movie almost seems shallow as well as conformist in the very worst sense. In terms of plot it has aged not well at all, but thankfully when viewing movies there is so much more to look at, such as the performances of the three leads, Montgomery Clift, Elizabeth Taylor, Shelley Winters.
No matter what you may think, it is obvious Montgomery Clift is a star as well as a great actor, one who was all about method, much like the younger James Dean who was also on the scene. Both were incredibly talented men who both met with tragic endings, although Clift appeared in many more films it is sad that his star has faded while Dean’s has always been in ascendance. There is no doubt that all three actors were chosen for a variety of reasons, of course Winters and Clift were great looking, but had talent to burn. It would be unfair to say that Elizabeth Taylor was not a good actor but she was a star, she was eighteen when she featured in this, there was no real stretch for her to portray a pretty socialite without a care in the world, except whom she might marry. One of the main reasons to watch this film is for the performance of the three leads who are all doing vastly different jobs playing very different and particular characters which for a teen drama is a gift for any audience.
“A Place in the Sun”, set in 1950, concerns George Eastman (Montgomery Clift), the poor nephew of rich industrialist Charles Eastman (Herbert Heyes), arrives in town following a chance encounter with his uncle while working as a bellhop in a Chicago hotel. The elder Eastman invites George to visit him if and when he ever comes to town, and the ambitious young man takes advantage of the offer. Despite George’s family relationship to the Eastmans, they regard him as something of an outsider, but his uncle nevertheless offers him an entry-level job at his factory. George, uncomplaining, hopes to impress his uncle (whom he always addresses formally) with his hard work and earn his way up. While working in the factory, George starts dating fellow factory worker Alice Tripp (Shelley Winters), in defiance of the workplace rules. Alice is a poor and inexperienced girl who is dazzled by George and slow to believe that his Eastman name brings him no advantages.Over time, George begins a slow move up the corporate ladder into a supervisory position in the department where he began. He has submitted recommendations on improving production in his department, which finally catch the attention of his uncle, who invites him to their home for a social event. At the party, George finally meets “society girl” Angela Vickers (Elizabeth Taylor), whom he has admired from afar since shortly after arriving in town, and they quickly fall in love. This is the point where melodrama takes over, I will not spoil the ending or any further plot points but this general story has been told often so the ending should not be a huge surprise.
Extremely well directed and acted “A Place in the Sun” is well worth watching, it is an experience from another time that really shows how different life was once upon a time. It seems almost easy, relaxed and simple in a time following the War, it speaks to a generation attempting to find themselves not knowing what was to come with two more wars as well as unrest that they would only dream of. This movie is also throughly more enjoyable if watched with “Giant”, a film that would highlight how different the world was to come, especially in entertainment with stars being able to launch projects and new exciting talent coming to bear.
Video
Many black & white classics from Hollywood’s Golden years found a new audience thanks to high definition, which in some cases revealed more stunning detail than their Technicolor counterparts. Imprint Films’ 1080pm presentation of A Place in the Sun comes from a 4K restoration by Paramount Pictures, which has yielded an impressive 1.37:1 image with a beautiful matte texture and a very radiant quality. However, there are brief moments scattered throughout when the quality dips slightly, taking on high contrast with less detail, but they’re usually toward the end of scenes.
Audio
Sound comes in 5.1 DTS-HD Surround with an optional LCMP 2.0 Stereo track, which really elevates the film with its sweeping romantically-styled score. Dialogue is very much front and centre with solid volume, not becoming blended with background sounds.
Special features
• Audio commentary with George Stevens Jr. and associate producer Ivan Moffat • “George Stevens and His Place in the Sun” featurette (22:23) • “George Stevens: The Filmmakers Who Knew Him” – Warren Beatty, Frank Capra, and others reminisce about working with Stevens (45:27) • Theatrical Trailer (2:37) • Photo Gallery (11:55) • Imprint Trailer (0:26) • Optional English subtitles
Written by: Sidney Lumet based on the novel Night Falls on Manhattan by Robert Daley
Directed by: Sidney Lumet
Featuring: Andy Garcia, Ian Holm, James Gandolfini, Lena Olin, Ron Leibman and Richard Dreyfuss
Sean Casey:“You were a cop, Joe. Now you’re a garbage! You are nothing!”
Released recently on blu-ray is the mid eighties drama “Night Falls on Manhattan” (1996) written and directed by master auteur Sidney Lumet who spent a lifetime making films based in New York with a large amount of his classics directly analysing the NYPD and all that entails, the good, the bad and the ugly. This is a film that not only attempts to cast an eye over the NYPD, but also the D.A.’s office and the political life that is present in that office which is fascinating if not a little broad. There is a lot to really enjoy about this movie, the actors, the plot, the direction and the winding narrative that plays with expectations all the way through, it is for me, one of Lumet’s best later career movies.
When speaking about Lumet’s movies, especially “Night Falls on Manhattan” one cannot help but address that this is a quintessential Lumet film. It is set and filmed in New York, it shows the loss of faith in State Institutions like the NYPD as well as the D.A.’s office. This film also illustrates how fully each of these offices rely on each other but are also at odds with one another. We see from the street level how corruption is endemic but it is juxtaposed with the higher office where corruption takes place legally, where to succeed you must sell your soul a little at a time. Another aspect that we see which Lumet would interrogate is the race issue of who is working where and how these different cultures intersect and divide, where violence is a way for people to prove themselves and to be used as currency.
“Night Falls on Manhattan” concerns NYPD detectives Liam Casey (Ian Holm) and Joey Allegretto (James Gandolfini) who conduct a surveillance operation against Jordan Washington (Shiek Mahmud-Bey), a notorious drug dealer. On a tip from an informant, they venture into an apartment block where Washington is reported to be hiding. After Casey shoots the lock, Washington fires a submachine gun through his front door, seriously wounding Casey. Police backup units arrive and swarm the building, but Washington executes an escape in an NYPD squad car after killing two cops. In a surprising move, District Attorney Morganstern (Ron Leibman) appoints Casey’s son Sean (Andy García), an ex-cop and recently appointed ADA, to prosecute Washington when he is caught. In the process, he passes over the more experienced ADA Elihu Harrison (Colm Feore), who plans to oppose him in an upcoming judicial election. Of course this is only part of the story, where we delve into a court case, an election for the D.A. and revelations that become apparent to all with some prices to be paid. this is a movie where you go places you might not expect, finding no easy ending but multiple deals made with the devil.
This is a film that is teaming with great actors in almost every role, while Lumet casts some well known New York actors he also is not afraid to bring in other talent that on the surface may seem out of place. One of the aspects of New York and Lumet movies is the idea of multi ethnic casting which can be seen in many of his best works. So here we have Andy Garcia who is from Cuba, a natural immigrant, whose Father is portrayed by Ian Holm from the UK, his Mother was Hispanic (dead in the film) – what better representation is that? Garcia plays his part well, although in parts his own idiosyncratic tics come out, what would a Garcia performance be without some yelling, but he does well and this movie would mark the beginning of his decline in quality leading roles. Some stand outs are of course the great character actors James Gandolfini and Ron Leibman who play their parts perfectly and are both given scenes to show off their chops, you can tell both love working in New York, for Lumet and in a very good film. Rounding out the cast are two veterans (even in 1995!) the amazing Lena Olin and the always watchable Richard Dreyfuss who again play parts that could be run of the mill, been there, done that , but in a Lumet film they mean something and perform vital roles within the narrative.
What is great about “Night Falls on Manhattan” is that it feels a part of Lumet’s overall oeuvre, in that it sits along “Dog Day Afternoon” (1975), “Serpico” (1973) and the fantastic “Prince of the City” (1981) all of which show a city on the edge but in decline, but also illustrate honesty, integrity, human emotion and corruption at all levels, showing us a reflection of ourselves in ways that are shocking and Universal. The other, and maybe surprising thing is that Lumet was 65 when he wrote and directed “Night Falls on Manhattan”, and he would continue to make films up to his death at the age of 86, he was as vital making this as he was when he was younger, something many directors are unable to say. Like other New York directors he had he own vision of what the city was in the present and what it was becoming, he was loyal to it but was not afraid to call it out in his films.
This movie is not perfect, but it offers a real snapshot of a time and place that in some ways has not changed much, there is still corruption, the police still have their issues with themselves and the public, the politics of the city are complex and divided with deals having to be made at all levels. However it is still a fascinating place where people choose to live with all of these issues, it has become a place that globally still fascinates and attracts , Lumet knew this which is why his best works are timeless.
Special features
Audio commentary with Director Sidney Lumet
Audio commentary with actors Andy Garcia and Rob Leibman, and producers Josh Kramer and Thom Mount
Written by: Sydney Boehm based on the book When Worlds Collide by Edwin Balmer and Philip Wylie
Directed by: Rudolph Maté
Featuring: Richard Derr, Barbara Rush, Peter Hansen and John Hoyt
Dr. Emery Bronson:“If our calculations prove to be correct, this will be the most frightening discovery of all time.”
Released on Blu-Ray recently is the classic science fiction movie “When Worlds Collide” (1951) an excellent example of its genre from the time period where science fiction was one of the more popular genres of the 1950s and 1960s when Cold War paranoia was coming into its own with the after effects of World War II. “When Worlds Collide” may not be what is thought of as a typical Cold War science fiction movie it does when looked at meet many of the criteria that make it one. In fact it is a stand out movie of the 1950s not only of its genre but also a highlight for all those involved.
When looking at what makes a Cold War science fiction movie there are four main themes, they are (1) Extraterrestrial travel, (2) Alien invasion and infiltration, (3) Mutants, metamorphosis, and resurrection of extinct species, and (4) Near annihilation or the end of the Earth. Each of these themes related, at least indirectly, to the world events of the 1950s and reflected the fear and anxiety of the atomic age and the Cold War. The themes were Hollywood’s version of a nation coming to grips with its postwar knowledge that humanity could destroy itself as well as the paranoia that had resulted from the red scare, in which Communists appeared to be infiltrating and subverting normal American life and values. Victorious in World War II, Americans now feared failure in the face of atomic and nuclear energy in the hands of the enemy. Science fiction films tended to merge the fear of a Communist takeover with the fear of annihilation, particularly in the form of invasion from outside forces.
The plot of the movie concerns David Randall who flies top-secret photographs from South African astronomer Dr. Emery Bronson to Dr. Cole Hendron in the United States. Hendron, with the assistance of his daughter Joyce, confirms their worst fears: Bronson has discovered that a rogue star named Bellus is on a collision course with Earth. Hendron warns the United Nations that the end of the world is little more than eight months away. He pleads for the construction of “arks” to transport a lucky few to Zyra, the sole planet orbiting Bellus, in the faint hope that the human race can be saved from extinction. Other scientists scoff at his claims, and his proposal is rejected by the delegates. From here the ‘rogue’ scientists go there own way and the story unfolds to something that by now modern audiences would immediately recognise.
“When Worlds Collide” was directed by Rudolph Maté, a Polish born filmmaker who worked extensively in Europe before moving to the US before the outbreak of World War II. Maté was a skilled filmmaker who worked as a cinematographer before starting to direct some very good in movies in a variety of genres. In “When Worlds Collide” he illustrates both of these skills as it has many in camera effects as well as a narrative that needs to be balanced to show a variety of elements from the main characters to effects of the planet on Earth. It is all vert skilfully done and it shows how a serious filmmaker with ambition could elevate what could have been B movie schlock.
Led by the performances of the three leads in Richard Derr, Barbara Rush and Peter Hansen who were all great and experienced character actors this movie succeeds because of their seriousness and believability that never waivers or sinks into them taking the material nothing less than what it is, a great science fiction story. If at any time there had have been a doubt in the performances or a wink to the camera then this would have been quite the inferior genre piece, at the same time there are no over the top performances either which is a skill unto itself.
One of the elements of the movie that strikes a chord on todays world is the idea of scientists not only discovering a problem but devising a solution. If this sounds familiar think about the situation that the US finds itself in now with a pandemic having killed over 200,000 people with many scientists and doctors offering solutions but politicians not willing to implement any of their ideas to protect people. This movie shows how wrong people can be when they seek to protect an untenable position that will cost lives down the road. Of course when things are at there worst, that is when the rocket is taking off and it is obvious with people dying around them, that is when people want to be saved. Over the next year it will be interesting to see whether the US is in a better situation, or in a far more precarious position.
In terms of overall science fiction movies “When Worlds Collide” is one of my favourites, the picture looks amazing, the performances are all excellent and the story is showing something people had never seen but would not get tired of, as the endless homages to it show and even the remake of sorts with “Melancholia” (2011).
Special Features
90min of extended interviews with Gene Roddenberry, Ray Bradbury, Ray Harryhausen, Roy Edward Disney, Wah Chang, Russ Tamblyn & Duke Goldstone recorded for the 1985 documentary ”Fantasy Film Worlds of George Pal”.
NEW exclusive audio commentary by film critics Barry Forshaw & Kim Newman
Featuring: Gerry Parkes, Fulton Mackay, John Gordon Sinclair, Simon O’Brien, Jerry Nelson, Dave Goelz, Steve Whitmire, Kathryn Mullen, Karen Prell, Richard Hunt and Jim Henson
Pa Gorg:“Junior, are you sure this isn’t another one of your dumb hair-brained schemes?”
Junior Gorg:“No, Pa, this is one of my smart hair-brained schemes!”
Released recently on DVD is the second volume (of three?) “Fraggle Rock – Collection Two “ (1985-1986) that brings the classic Jim Henson series to home viewing which sees different levels of beings not really interacting but relying on each other to survive. At the time this may have gone over peoples heads but now surely it is more relevant than ever especially in the divided world we now find ourselves in.
Jim Henson was one of the creative forces of the past fifty years, he helped make “Sesame Street” (1969-present) what it is today, created ‘The Muppets’ with all that entailed including the television show, the movies and all that came since. Henson was responsible for the groundbreaking “The Dark Crystal” (1982) which made a comeback last year on Netflix and the groundbreaking (his actual legacy) The Jim Henson Company and Jim Henson’s Creature Shop. Once Jim Henson realised the power of his creations he became a global force in entertainment and children’s education up to his death in 1990. His own politics and social and environmental leanings can be seen in much of his work but no more so than the excellent “Fraggle Rock” (1983-1987) a show so prescient that it illustrated almost every week how reliant we are on each other and our entire environment. Not only that but it spawned an animated series and next year a rebooted series is coming next year.
“Fraggle Rock” concerns four main intelligent anthropomorphic species: Fraggles, Doozers, Gorgs and Silly Creatures. The Fraggles and Doozers live in a system of natural caves called Fraggle Rock that are filled with all manner of creatures and features and which connect to at least two different areas: The Land of the Gorgs which they consider part of the “Universe” and “Outer Space” where the “silly creatures” (or humans) live. One of the main themes of the series is that, although the three species depend on the other for their survival, they usually fail to communicate due to vast differences in their biology and culture. The series mainly follows the adventures of five Fraggles, each with their own personality: pragmatic Gobo, artistic Mokey, indecisive Wembley, superstitious Boober, and adventurous Red.
Episodes:
Series Three
Red-Handed and the Invisible Thief: Red absolutely loves her radish bars (which are the equivalent of Pop-Tarts in our world). So when she sees that whenever she wakes up from sleeping that her bars are missing, she sets out to find the crook, which leads her to think her roommate Mokey stole them. She also gets Gobo to hide in a hole outside her room to watch and see if it really is Mokey; after Gobo gets distracted from reading a postcard, the bars go missing again, but Gobo claims he didn’t see anything.
Boober and the Glob: It’s Joke Day in Fraggle Rock, and Boober’s trying to get out before his friends find him and make him participate in the holiday he hates. But before he leaves, a huge purplish-pink glob rolls into the Great Hall. Boober ends up meeting Cotterpin Doozer as well, and the Doozers are on their way to start building near the Blob.
The Grapes of Generosity: Gobo finds the legendary “Grapes of Generosity”, mystical fruits which are rumored to compel anyone who eats them to share them with others. However, when Gobo brings them back, he ends up eating them and keeping them all to himself. Before long, Gobo becomes weightless, and tries to hide it from everyone else.
Blanket of Snow, Blanket of Woe: Mokey’s been making too many promises lately; most notably, she was supposed to knit a tarpaulin for the Trash Heap before the next big snow. But she ends up being too late, and when she sees Philo and Gunge mourning over the frozen Marjorie, she decides she has to fix her mistake. When she overhears the Gorgs need to throw out some yucky, hot soup, she along with the help of Gobo go into the Gorg’s castle to find a way to get the soup on the Trash Heap so she can thaw out.
Pebble Pox Blues: Gobo’s come down with the Pebble Pox, so it’s up to Boober and Wembley to go to the Cave of Shadows to get Gobo’s cure. However, Boober’s not too fond of the idea, and shares his worries with Wembley along the way. Before long, Wembley comes up with a bad case of the Pebble Pox, too. Will Boober leave his sick friend behind and ditch the journey, or will Boober put his germ-worries aside to help his friends?
Home Is Where the Trash Is: Philo and Gunge are sick and tired of being around Marjorie, so they decide to go off and find their home. The only problem is, they don’t know where they originally came from. After a failed attempt to live in Mokey and Red’s room, they travel far away, were caught and made slaves of Wander McMooch, the Trash Heap’s biggest enemy.
Believe It or Not: Red and Wembley decide they’re going on an adventure out in the Gorg’s Garden today. At the same time, Ma is trying to get Pa and Junior to clean the basement, which is something that they really don’t want to do. Junior catches a fluffy little creature named Skinfrith, and then Red and Wembley set him free so they can have some fun. But what they don’t know is, this Skinfrith is a magical creature that can change into anything that someone can imagine.
Wembley and the Mean Genie: When Gobo, Red and Wembley are searching for unique items, Wembley comes upon an old green bottle. He takes it back to his cave, and while he’s polishing the bottle up, a genie appears. Wembley can hardly believe his luck, but this genie has his own agenda. He destroys all the items Gobo and Red found, then he scares Boober half to death by making his laundry look like ghosts. Gobo says he needs to get rid of the mean genie, but the genie says he needs to stop letting Gobo boss him around. Later on, Wembley decides Gobo was right, and they create a plan to get the genie back in the bottle, then bury it.
The Secret Society of Poohbahs: Mokey really, really wants to be a part of the Secret Society of Poohbahs, even though Red keeps telling her it’s just a silly club. Then one day Mokey gets a letter saying that the Poohbah’s would like to see her and find out if she’s worthy of being a part of the club. She tells Red of her invitation, only to find out that she wasn’t supposed to tell anyone about it.
The Beanbarrow, the Burden and the Bright Bouquet: t’s time for the annual Beanbarrow Race, and it’s Gobo and Wembley vs. Red and Mokey. But when Mokey gets delayed, Red ends up having to do the race with Lanford, Mokey’s annoying plant. As they’re racing, Red and Lanford get lost at Table Rock Cavern which is where the Clinging Creepers live. When the Clinging Creepers start to attack them, Red and Lanford must work together in order to escape.
Gobo’s School for Explorers: Gobo finds out about Uncle Matt’s Secret Rules for Exploring through a postcard, and decides to open up a school for explorers. On his first expedition, he- along with Red, Wembley and Mokey- must travel to the Hole To Who-Knows-Where. Gobo becomes so fixated on the rules that he starts to disregard common sense, and of course, he and Red go at it again. Wembley and Mokey start to agree with Gobo’s rules, but before long, they both side with Red.
Scared Silly: Boober’s been testing belouviouses, which are the part of a Fraggle’s tail that flares up when scared. And when he tests Wembley’s, Wembley wants to get even, so Philo and Gunge give him ideas on how to test his belouvious back. When hiding in the laundry and shouting “Boo!” doesn’t work, he goes with an elaborate plan of setting up scary masks, spiders and snakes.
The Great Radish Caper: Mokey’s on her way out to get a radish, when she sees Junior talking to this gigantically huge radish named Geraldine. When she tries to take the radish back home, Junior catches her, and she sees that Junior has a problem. Junior asks her what it is, and she fools him into letting her go. Mokey shares this with her friends, and then Wembley, Gobo and Red decide to go have a look at it, only to almost be caught by Junior. Mokey then decides that, while they get the radish, she’ll keep Junior occupied. Mokey gets caught again, and Junior makes her tell him what the problem is.
Born to Wander: The Storyteller’s having a story-telling session in Gobo’s room, so Gobo decides that he wants to hear about Uncle Matt’s first big journey. We see a flashback of little Matt- who’s dressed like Gobo is now-with his Uncle Gobo, who thinks that his nephew Matt is annoying and clueless. Back then, Fraggles either ate mushrooms or Doozer constructions, but when the mushrooms run out, Uncle Gobo and Matt try to find some food. However, Matt causes a rock quake, and breaks Uncle Gobo’s leg.
The Battle of Leaking Roof: It’s about to rain, and Ma wants Pa to fix the hole in the roof before it starts to pour. At the same time, Boober and Mokey are out getting radishes, and when Ma accidentally picks Boober up, he loses his hat. Boober’s too afraid to go back out there, so Mokey goes out by herself to get the hat.
Playing Till It Hurts: It’s time for Rock Hockey, and Red’s especially excited because her idol, Rock Hockey Hannah, is coming to watch her play. Her excitement’s cut short, however, when she injures herself. She’s still determined to play, and she escapes from her room to try it again, only to get even more hurt.
Bored Stiff: Gobo’s wanting to go with Wembley out to the Gorg’s Garden on an expedition. But their trip is cut short when they meet Mokey, Boober and Red at the hole to the garden, and they tell the boys that the Gorgs are right outside. Gobo decides that he’s gonna find out what’s going on. Meanwhile, Ma and Pa are playing around Kissing Rock, and Junior finds a spray can that’s marked “Boredom Juice”, a chemical that, when sprayed, causes anyone or anything to become permanently bored.
The Cavern of Lost Dreams: When Cotterpin Doozer hears that Gobo is the bravest Fraggle in the Rock, she gets him to help her find the Cavern of Lost Dreams, which is where the original tower was built. When they get there, the remaining two Doozers, Yeaster and Crusty, don’t want to come back. Will these two Doozers finally accept the changes that have occurred and move back to the Rock and help build once again?
The Incredible Shrinking Mokey: Mokey and Red are putting on a puppet show and on their way to the production, Mokey hears the cries of a strange creature named Begoony, a magical fluffy critter who clings himself to Mokey and wants all of her attention. But when Mokey’s torn between helping Begoony and putting on their show, Begoony puts a curse on her that makes her shrink, and then Begoony places her in a dollhouse.
A Dark and Stormy Night: Gobo feels as if he’s done it all and wishes there was someplace he could explore. But when he hears that the Gorgs are going on a vacation, he thinks his problem is solved, and decides to map the inside of the Gorg’s castle. Meanwhile, Ma and Pa are going on their second honeymoon, and they want Junior to stay behind and watch the castle. When Gobo tells everyone of his new exploration, the other Fraggles think the Gorgs are going to be in the castle while he’s exploring.
Gunge the Great and Glorious: When the Architect Doozer is teaching some younger Doozers about the great Doozer king (who looks a LOT like Gunge) Gunge wanders in the middle of the teaching session while looking for the M’Geecky vines for Marjorie.
Series Four
The Bells of Fraggle Rock: It’s winter time in Fraggle Rock, and Cantus arrives to help the Fraggles celebrate the Festival of the Bells. However, Gobo’s holiday spirits aren’t up and he’s forgotten the true meaning. So to make this holiday extra special, he decides he’s going to find the Great Bell of Fraggle Rock and bring it back before the celebration begins. But the Rock grows colder, and as Red, Mokey, Boober and Wembley wait, they grow closer to becoming frozen.
Sprocket’s Big Adventure: Doc still doesn’t believe Sprocket when he says there’s furry creatures behind the hole in the workshop. So Sprocket finally makes his way into Fraggle Rock to find Gobo, and causes all kinds of mayhem. When he runs into the Doozers, the Doozers hire him to knock down all their buildings so they can rebuild.
Wembley’s Wonderful Whoopie Water: Wembley’s got a special talent; he can hear water in the rock walls. But when Gobo and Red don’t believe him, he sets out to prove he’s right. When water finally breaks out, the Fraggles discover that this type of water is special. But when the water starts to cause rock quakes and Gobo falls into the cracks, is it finally time to shut down the fun?
Sidebottom Blues: When Boober shows Wembley all of his ointments and medicines, Wembley thinks Boober doesn’t have enough fun, and invites him to the garden to play Follow the Leader with the rest of their friends. First Boober accepts, but then he overhears Gobo talking about Boober being a big goof (when really, Gobo’s referring to Junior), he gets upset and very hurt, and decides to let Sidebottom out and turns into “Dr. Fun.”
Uncle Matt’s Discovery: Uncle Matt’s coming back home again, and this time when he shows up, he hides under the party table in Gobo’s room to avoid what he calls “Face Erasers.” Red mocks Matt’s cowardice. Gobo then gets upset that Matt would not admit his fear, so Matt goes exploring by himself. When Wembley convinces Gobo to go after him, they find a scary wooden statue of a Fraggle.
Junior Faces the Music: Tonight is the night of the Blue Moon, and when Junior Gorg notices this, he begs Pa to let him play the Royal Kazoo to prove that he’ll be a great, worthy king. But the moon needs to be full, and one also needs five Fraggle witnesses. But when Pa dismisses the idea in fear of Junior being banished, Junior feels like he’ll never be much of anything.
The Perfect Blue Rollie: One day as Wembley and Boober are going down by Roaring Rivene, they come upon a huge collection of colorful smoothies and rollies, the greatest gift you can give to a Fraggle. But then, something even more amazing happens; Wembley spots the Perfect Blue Rollie, the rarest pebble in the universe. He gives it to Boober in the spirit of giving. But Boober becomes selfish with the rollie and puts it in his Hidey Hole, a cave where Boober keeps all of his stuff.
A Tune for Two: It’s time for the Duet-athon! Wembley’s supposed to be paired up with Gobo, but when Matt comes back home for another visit, Gobo gets paired up with his uncle instead. Then Wembley tries to get Boober to join him, but when Tosh Fraggle comes along, Boober just can’t resist doing a song with his crush. Wembley becomes sad, and thinks no one wants to be with him in the Duet-athon. While Wembley’s crying, Cotterpin Doozer comes along and tries to cheer him up, saying she’ll be in the competition with him.
A Brush with Jealousy: Mokey’s well-known for being a terrific painter, but when Red takes down one of her paintings and puts up one of Pedley Fraggles’ (another great painter), she sets out to show everyone how much better of a painter she is. When she goes to the Trash Heap for a paintbrush, Marjorie gives her a magical paintbrush that, when used for the wrong reasons, takes control of the Fraggle using it.
Wembley’s Flight: When Wembley rescues a Spider Fly from a Snare Blossom, the fly turns into a strange old creature that will grant Wembley any wish he wants to for setting him free. Wembley decides he wants to fly, so the creature gives him the ability, but Wembley’s only allowed to fly three times. He uses his first time up almost immediately, but then he goes to find his friends to show them his new ability.
Wonder Mountain: Mokey wants to go all the way up to Wonder Mountain to see the Aurora Fragglialis, which only occurs once every 1000 days. But Red’s worried about Mokey going alone, and even though she promised Mokey she trusted her enough to go by herself, Red decides to leave the duties of plant-sitting Lanford to Gobo, Boober and Wembley to watch over Mokey so nothing bad happens.
Red’s Blue Dragon: Red’s been playing “Princess Gwenelot and the Evil Dragon” lately, and when Gobo tells her she needs to grow up and stop playing make-believe, she happens upon the T. Matthew Fraggle Room, the cavern with the dozens of tunnels that lead to different places in “Outer Space.”
Space Frog Follies: Gobo’s getting ready to have a surprise party for himself, but when Uncle Matt shows up and says he can’t come to the party, Gobo gets upset. Meanwhile, Matt takes Wembley aside and shows him the present he got for Gobo; a space frog.
Boober Gorg: Boober’s well-known for cooking excellent recipes with radishes, and one day while creating another famous dish, the pot explodes, and the radish falls on Boober’s head, giving him amnesia, and it’s up to his friends to find a cure.
Featuring: Jessica Chastain, John Malkovich, Common, Geena Davis, Colin Farrell, Ioan Gruffudd and Joan Chen
[to Ava, referring to the next assassination job] Duke:“So this one could be tricky. The approach should be flirty but classy. Anything aggressive is going to scare the General off.”
Released recently on Blu-ray/DVD is the action thriller “Ava” (2020) that may seem fresh as well as original but falls flat on almost every aspect that one could think of. The plot is thin as well as almost amateurish in set up and pay off, the action scenes are not particularly inventive, the great actors are saddled with some real average dialogue and finally this entire movie seems to have been done before in the terrific “Haywire” (2011) almost ten years ago that launched the career of Gina Carino. These movies share more than the DNA of what make both of them a part of the action genre, they are both about hit woman working for a private agency who are betrayed and hunted down where they seek revenge for their betrayal. The obvious difference is that “Haywire” was first and was directed by a true auteur in Steven Soderbergh who made the movie something special and written by Lem Dobbs who has proven his talent in multiple screenplays that play on paranoia and what it means to be a part from society.
If this was just another action movie that had no aspirations for anything other than being some minor form of entertainment that would be one thing but you can just tell that “Ava” strives for something else with its star/producer Jessica Chastain and director Tate Taylor who, for years have attempted to position themselves as talents maybe better than they actually are. However because the story is unoriginal to say the least, a cheap copy to say the most, it has to invent a backstory for the main character to give her any real depth but it ultimately feels like a distraction from the main story which is far too light, so much so that it is the main story that is unsustainable. The other element of this movie that seems forced is the constant casting of well known actors to attempt to give the movie heft, but frankly their characters are copies from other better genre movies, but with terrible dialogue from the to perform, they are mostly wasted here.
“Ava” concerns the titular character, a trained assassin, who we are introduced to when she eliminates an English businessman in France. After completing the hit, Ava takes a flight to Boston, checks into a hotel and goes to meet her estranged sister Judy, where it is revealed that Ava ran away from her home eight years ago. Later, Ava flies to Riyadh for another mission: to kill a German general but make it look like a natural death. The hit is a failure, she is then hunted by her employers. from there the story picks up which meanders to its obvious conclusion.
Written by Matthew Newton and directed by Tate Taylor this movie is a poor example of a genre piece that needs to be original as well as striking to stand out of from a crowd, given that they have high profile actors involved this would seem to be obvious. However as I have said this movie is an inferior copy of a better movie in “Haywire”. Not only that, both writer and director have no skills in the control and creation of “Ava” which is clear when watching the movie. I would not have said that before they were involved as that would have been unfair, but when the A plot seems to be there for the B plot to occur that is a huge weakness in storytelling and narrative structure. This is a movie about a hit woman who is betrayed, this is what should be concentrated on, not some other story about her family and the past, this stalls the plot, confusing the narrative and has threads that are not concluded with any believability. Now I understand layering a character as well as delving into a psyche but no-one involved in “Ava” has the skill to do this believably and honestly.
“Ava” features Jessica Chastain in the main role who does an admirable job being physical while attempting to imbue the titular character with levels and depth but by about the fifteen minute mark I was bored, maybe it is to subtle but the plot was so distracting I felt like her performance and the plot were moving in different directions. The supporting cast is huge but they all play cyphers who are at best shadows of real characters, they are all flash with tics and idiosyncratic performances that are covering plot holes and inconsistancies that should not exist.
This is a movie that, for me is an inferior copy of another movie, it is hard not to compare one to the other but ultimately this is a case of the Emperors New Clothes, nothing new to see here, with yet another underwhelming Jessica Chastain performance. Every time I see her I think she strives too hard for relevance or success when she should just not worry about the size of a part or who she is working with and just concentrate on the material, everything else will take care of itself.
A new trailer for the film adaptation of the “Monster Hunter” video game franchise has gone online ahead of the film’s release which is now set for a December 30th theatrical run.
Paul W.S. Anderson (“Resident Evil,” “Mortal Kombat”) directs the feature which begins when an unexpected sandstorm transports Lt. Artemis (Milla Jovovich) and her unit (TI Harris, Meagan Good, Diego Boneta) to a new world. The soldiers are shocked to discover that this hostile and unknown environment is home to enormous and terrifying monsters immune to their firepower.
“Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)” (2020)
Action
Running time:109 minutes
Written by: Christina Hodson
Directed by: Cathy Yan
Featuring: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong and Ewan McGregor
Harley Quinn:“Oh hey, you’re that singer no one listens to.”
Dinah Lance:“Oh hey, you’re the asshole no one likes.”
Critical Commentary
Released recently on 4K Bluray is the first DCEU movie since the triumph of “The Joker” (2019) in the form of the overblown in title, although thoroughly underwhelming in execution, kind of sequel to “Suicide Squad” (2017) in “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)” (2020). Featuring at its core Margot Robbie’s Harley Quinn who in this movie talks to the camera, causes carnage and in a way brings together the all girl group ‘Birds of Prey’, featuring Renee Montoya, Black Canary, Huntress and Cassandra Cain who are all pale imitations of not only their comic counterparts but have appeared in other formats with much more originality and gusto than this movie, which for me was a letdown. This movie has some of the same issues that the recent “Charlies Angels” (2019) although nowhere near extreme as all the people (almost anyway) cast in this know what the movie was trying to be so performances have been adjusted accordingly. Unfortunately it is the paint by numbers script as well as the mostly lethargic and explain at every corner narration that keeps this as a below average comic book movie.
One of the main issues is that for almost the entire running time Quinn and other characters keep referring to The Joker but he is never seen, I get why, he is such a larger than life aspect of the the DC Universe that if he did appear it would distract from not only Quinn but the idea that this is a female empowerment movie. Also there is the added confusion of which actor would play the Joker, especially after fans turned on Jared Leto’s performance, so he is only sen in shadow here. Therein lies one of the major issues with this movie, the varied cast, the narrative that for half the movie is told in flashbacks and flash-forwards which is all well and good but it does not match the story which is completely pedestrian.
I get what “Birds of Prey” was supposed to be, a female empowerment movie with a supposed badass female character at the centre who could do and say anything she wanted to so that it would prove that, yes women can do anything. Except of course we have already had that movie in “Wonder Woman” (2016) which not only had the budget to go with that vision but also had a three dimensional character that audiences could get on board with. Unfortunately Harley Quinn is a two dimensional character at the very best so other cast members have been added and their origin stories have been shown horned in to prop up Quinn, which feels forced because it is, so the narrative is stop and start every fifteen minutes, making for an uncomfortable watch.
“Birds of Prey” is set after the Enchantress’ defeat, the Joker breaks up with Harley Quinn, throwing her out on the streets of Gotham City, recovering from her abusive relationship by cutting her hair, adopting a spotted hyena, taking up roller derby, and blowing up the Ace Chemicals plant where she pledged herself to the Joker years prior. One night, Harley gets drunk at a nightclub owned by gangster Roman Sionis, and cripples Roman’s driver after he insults her. Later, she meets burlesque singer Dinah Lance, who later rescues an intoxicated Harley from an attempted rape and abduction. Spotting the scuffle from his bedroom, Roman is impressed by Dinah’s skills and appoints her as his new driver. Meanwhile, GCPD Detective Renee Montoya investigates a series of mob killings carried out by a crossbow-wielding vigilante.
Written by Christina Hodson and directed by Cathy Yan this “Birds of Prey” is a rather boring watch which it shouldn’t be, say what you want about her last outing in “Suicide Squad” but it wasn’t boring. I get wanting to have women behind the scenes but neither have a real style in terms of their creative output, the only thing that comes close is the fact Hodson was a writer of the modest hit “Bumblebee” (2018), but even that story was propped up by the visuals, actors and nostalgia, here there is nothing to distract audiences from the story as the direction is mild, in fact another direct was brought in to up the ante on the action. Another aspect of the movie that is shocking is the almost complete lack of any kind of memorable or practical production design, everything looks on the cheap and frail. One example is all the nightclub scenes where the location looks drab and actually not authentic at all, it looks like a sound stage with some tables and chairs, what were they thinking.
The cast led by Margot Robbie is made up of a mixture of new faces and familiar ones, they all attempt to instil their characters with something that will come across as how they should be in a movie like this. I loved seeing Rosie Perez who is possibly doing the best work in the movie, but for me it was the always great Chris Messina who not only knows his own character but also realises what movie his is actually in, I loved his performance.
All in all this was a mess of a movie, with an unproven director who seems out of her depth, a plot that goes nowhere and finally a budget that is well under what this movie required to have some visual flair. It is interesting that Warner Brothers say they are interested in making a female empowered movie but budget it at the least of all the DCEU movies, which actually says more about what they care about than what they say publicly. Think about it, “Birds of Prey” had less than half the budget of “Suicide Squad”, sure it was a different movie, but if more had been given over to the world building and plot this would have been so much better.
In my opinion I would not see this movie in cinemas, I might recommend this as a home watch but it adds nothing to comic book adaptations and is certainly a horrible followup to the DCEU’s biggest success, “The Joker”.
Technical Commentary
Video review
“Birds of Prey” arrives on 4K UHD Disc from Warner Bros. The discs are housed in a hard, black, plastic case.
Birds of Prey shoots its way to 4K with a 2160p transfer with Dolby Vision and looks exquisite and is a great upgrade from the already top-notch 1080p Blu-ray Disc in the form of color and detail.
The “Birds of Prey” color palette is the most vibrant and brightest color scheme out of all the DC Universe films. The Dolby Vision enhances each color in every lighting condition here, that allows all of the nuanced shading to come through nicely. The detail is also superb throughout as well, “Birds of Prey” in 4K Dolby Vision is a delight to watch.
Audio
Birds of Prey offers a wonderful Dolby Atmos track that comes alive when it needs to.
Extras
Birds Eye View – More like a visual commentary track, but once this extra is clicked, the film plays out in its entirety and cuts to many different featurettes that include interviews, behind the scenes, and more.
Birds of Prey: Birds of a Feather (HD, 9 Mins.) – Margot Robbie, the director, producer, and writer all discuss the origins of the film, comic book, its R rating, getting the film off the ground, casting, and more.
Romanesque (HD, 5 Mins.) – Ewan McGregor is the main focal point here as he joins in on the conversation along with Mary Elizabeth Winstead as everyone discusses his role and character.
A Love/Skate Relationship (HD, 5 Mins.) – A few of the stunts are discussed with a focus on roller derby, which makes a cameo in the movie.
Grime and Crime (HD, 11 Mins.) – The incredible and vibrant set design is touched upon in this cool extra, showcasing how different Gotham looks here from the rest of the DCU.
Sanity is Sooo Last Season (HD, 8 Mins.) – Costumes are in the spotlight as the costume designer and other actors discuss their wardrobe and how they were made.
Wild Nerds (HD, 6 Mins.) – The visual effects are given too little time in this great extra that features the visual effects supervisor talking about how some of the bigger effects were made, including the hyena.
Gag Reel (HD. 2 Mins.) – A brief montage of missed cues, flubbed lines, laughter, and dancing on set.
Featuring: Helen Hayes, Jason Robards, Patricia Neal, William Windom, Gena Rowlands, Carolyn Jones, Melvyn Douglas, Tyne Daly, David Soul, Karen Black and Jodie Foster
Released recently on Blu-ray and DVD is the short lived anthology series “Ghost Story (Circle Of Fear)” (1972-1973) that dipped its toes into horror and fantasy with some truly great character actors appearing in every episode. This is yet another lost gem from the 1970s that has been released, unlike many this has come to blu-ray with an often surprising and stunning picture restored in full 1080p high definition.
“Ghost Story (Circle Of Fear)” was produced by horror legend, William Castle, its origins can be found in a multitude of anthology shows from the day including “The Twilight Zone” (1959-1964), “The Outer Limits” (1963-1965) and of course the always great “Night Gallery”(1969-1973). “Ghost Story” was hosted by Sebastian Cabot as Winston Essex, the owner of a mysterious hotel named Mansfield House. Cabot’s introductions were filmed in the Hotel del Coronado near San Diego, California.
Written and developed by Richard Matheson, the content is more on the grounded side compared to the show’s predecessor. Many of the supernatural or paranormal occurrences can be interpreted as mental anguish experienced by the protagonist. The show was renamed to “Circle of Fear” after Episode 13. Complete with a new intro and theme, the reworked program was more to the point, dropping Cabot as the presenter.
Much like any series that is anthology based which relies on separate stories rather than one overarching narrative with the same actors and charters each week the success or failure depends on a few elements, that is the storytelling, the guest actors that are used and any theme or common thread that may hold each series together. This is is what the greatest series have in common, and why over the past fifty years they keep coming back, to be fair “Ghost Story” attempted something like those series but in the end it was too uneven, and changing the name could not have helped. But given the distance from it original airing and with hindsight as well as some truly amazing guest stars this has aged very well and I recommend it highly.
Episodes:
Pilot
The Dead We Leave Behind: A young couple (David Birney and Barbara Parkins) purchase a house that is standing on a site where an innocent woman (Caitlin Wyles) was unjustly hanged. The woman’s spirit eventually takes over the family’s newborn daughter.
Series One:
The Dead We Leave Behind: A forest ranger (Jason Robards) and his wife (Stella Stevens) have a television that can predict the future, including the wife’s accidental death.
The Concrete Captain: The spirit of a dead sea captain buried in concrete on the seashore haunts two tourists (Gena Rowlands, Stuart Whitman).
At the Cradle Foot: A father (James Franciscus) learns that changing events because he dreams that his daughter is murdered twenty years later makes things even worse.
Bad Connection: A young widow (Karen Black) receives warnings from her dead husband over the telephone.
The Summer House: A woman (Carolyn Jones) is trapped in a strange world between reality and nightmare—a vacation home possessed of its own malevolent personality.
Alter-Ego: Robert, a bored, ill boy stuck in a wheelchair, creates his own double. Robert soon loses control of the evil doppelgänger, who grows stronger as Robert grows weaker. Helen Hayes guest stars.
Half a Death: Christina (Pamela Franklin) is a young woman distressed to learn of the death of her twin sister Lisa, whose spirit begins to haunt Christina.
House of Evil: A deaf-mute girl (Jodie Foster) has telekinetic powers along with her evil grandfather (Melvyn Douglas), who uses the child as a pawn in his quest for revenge against his family.
Cry of the Cat: Rodeo cowboy Dan Hollis (Doug McClure) is delighted about his new marriage to the beautiful Mariah (Lauri Peters). When a cougar brutally attacks a bull that had thrown and trampled Dan in the arena, Dan’s stallion, and his former girlfriend, the other cowboys suspect that the legendary cat “Big Red” has returned while Mariah fears that she’s possessed.
Elegy for a Vampire: A college professor (Hal Linden) becomes a vampire and preys on his female students.
Touch of Madness: A young woman (Lynn Loring) inherits a house after her mother dies in a mental institution. Her aunt (Geraldine Page) and uncle (Rip Torn) welcome her warmly, but neither they nor the house are what they seem.
Creatures of the Canyon: A woman (Angie Dickinson) is troubled by a dog which turns vicious after its master dies.
Time of Terror: Ellen (Patricia Neal) wakes up alone in a hotel room with no sign of her husband, Harry. She learns at the front desk that he has checked out without her, and further inquiries lead her to a man (Craig Stevens) who helps her discover what really happened to Harry.
Death’s Head: Carol (Janet Leigh), the wife of a lawyer and devout entomologist (Gene Nelson), dislikes insects and has eyes for her husband’s partner (Rory Calhoun). She is susceptible when she meets a gypsy with a potion to offer, and after her husband’s “heart attack” she figures to take up with the lawyer friend—until the legend of the Death’s Head moth begins to come true.
Dark Vengeance: A construction worker (Martin Sheen) unearths a curious box, takes it home and opens it. His wife (Kim Darby) begins to be terrorized by the object it contains: a toy wooden horse that grows into something more.
Earth, Air, Fire and Water: Six young artists (One of them played by Tyne Daly) discover ancient, mysterious bottles in a warehouse which wield an abnormal influence over them.
Doorway to Death: When a family moves into a new apartment in San Francisco, young Robert (Leif Garrett) starts exploring and discovers an empty apartment upstairs. He opens a door that leads to a cabin in the woods, and sees a wood-chopping man who beckons to him. Robert brings his younger sister (Dawn Lyn) to meet the man upstairs, the spirit of an ax murderer who expresses an interest in meeting their older sister, Peggy (Susan Dey).
Legion of Demons: A young secretary (Shirley Knight) from a small town joins her more experienced friend in the city only to be baffled by the office’s witch-like happenings.
The Graveyard Shift: The unborn child of a couple (John Astin, Patty Duke) appears to be threatened by ghosts from an old horror picture studio.
Spare Parts: A transplant specialist (Don Knight) dies prematurely but donates his eyes, hands, and voice to three patients, all of whom suddenly take on his characteristics and seek vengeance on his widow (Susan Oliver), who he believes murdered him.
The Ghost of Potter’s Field: A magazine journalist (Tab Hunter) is almost destroyed by his doppelgänger until he finds out the true identity of a hit man (Darwin Joston) buried in a potter’s field.
The Phantom of Herald Square: Holly (Sheila Larken) is charmed by James (David Soul) and begins seeing him, but as soon as she does, she finds herself terrorized by an old man (Victor Jory). As her relationship with James grows, she is surprised to discover the connection between James and the old man.
Featuring: Michael Kitchen, Honeysuckle Weeks and Anthony Howell
Samantha Stewart: [to Foyle and Milner] “What you both need is a jolly good murder!”
Recently re-released on DVD is the television series “Foyle’s War” (2002-2015), it was essentially a murder mystery series taking place mostly in England during World War II. Many of the episodes were directly related to the war effort so there was a high military involvement which was a reflection of the times.
Detective Chief Superintendent Christopher Foyle (Michael Kitchen), a widower, is quiet, methodical, sagacious, scrupulously honest and frequently underestimated by his foes. Many of his cases concern profiteering, the black market and murder, and he is often called on to catch criminals who are taking advantage of the confusion created by the war. Although Foyle often comes up against high-ranking officials in the British military or intelligence services who would prefer that he mind his own business, he seeks justice tenaciously. Throughout the series, he is assisted by his driver, Samantha “Sam” Stewart (Honeysuckle Weeks), and Detective Sergeant Paul Milner (Anthony Howell).
Foyle has to take on cases of all types with narratives that take into account the 1940s as well as very real social issues that we are still dealing with today. Foyle is painted as a fair person, always happy to understand those who were out of favor with current morales, his rules are simple and adamant: There is no excuse for murder, or for harming those who can’t defend themselves, not even the desperate requirements of war.
In the title role Michael Kitchen like all television detectives must walk. fine line between looking too smart as well as too stupid, or at least playing at representing oneself as stupid. In fact this performance reminds me of Columbo who would always be master of fact, with always one last question to be asked. Like that famous New York Detective Kitchen says so much without saying anything, he is an expressive actor, early on in the first series this becomes apparent.
I have to be honest and say that I was not convinced I would like this series, especially after viewing so many greats, the Branagh “Wallander” (2010-2018) comes immediately to mind as do the myriad of Scandi-noirs that are now available, but “Foyle” sets itself apart by embracing its own time giving a history lesson, Dunkirk is referred to in the second episode, reminding us that maybe as a society we have not come far in may respects.
Episodes
Series One
The German Woman: The German wife of a rich and influential aristocrat exempted from wartime internment is found decapitated in the midst of anti-German feeling.
The white feather: The arrest of a young girl on a sabotage charge brings Foyle into contact with a group of English Nazi sympathizers.
A lesson in murder: Foyle investigates the suicide of a pacifist and death threats to the judge who ruled against his conscientious objector status.
Eagle Day: Foyle investigates a man found with a knife in his stomach in a bombed out building while son Andrew gets involved in a top secret radar program.
Series Two
Fifty Ships: After Foyle is a guest at a friend’s home at a dinner for an important American diplomat, a suicide victim and German agent both are discovered near the house.
Amoung the few: Sam volunteers to go undercover to discover how rationed gasoline is being stolen from a fuel depot, and Andrew becomes a suspect in a murder case.
War games: When a British food corporation signs a secret agreement with the Nazis to provide essential food services to the enemy during wartime, murders result.
The funk hotel: Foyle’s investigation of the death of a young black marketeer and stolen food is interrupted by his suspension on charges of sedition.
Series Three
The French drop: February 1941: A local murder investigation sidetracks Foyle’s endeavor to pursue a position that would contribute more to the war effort as he finds himself caught between rival spy organizations.
Enemy fire: February 1941: When a manor house is commandeered as a special burn unit for treating injured RAF pilots, Foyle is called in to investigate a series of accidents.
The fought in the fields: April 1941: Foyle questions three Land Army girls about a murder that occurs on a Hastings farm.
A war of nerves: June 1941: A.C. Rose orders Foyle to delegate his investigation of black marketing ring and personally look into the possibly seditious acts of a Socialist activist.
Series Four
Invasion: American troops arrive in Britain and the Corps of Engineers building an airstrip on a Hastings farm is met with resentment
Bad blood: Foyle investigates a mysterious disease affecting local farm animals and looks into the stabbing of a war hero.
Bleak Midwinter: The death of a woman in a munitions factory becomes linked with the murder of Milner’s estranged wife as he falls under suspicion and Foyle strives to clear his name.
Casualties of war: Foyle has his hands full dealing with illegal gambling, sabotage, and his needy goddaughter who shows up on his doorstep with her traumatized son.
Series Five
Plan of attack: Milner is unhappy with his new DCS and has asked for a transfer, but after the DCS is murdered, Foyle comes out of retirement to replace him.
Broken souls: Foyles hones in on two murders: an unpopular psychiatrist in a trauma facility and a low security German POW on work release to a local farm.
All clear: Foyle joins a municipal committee preparing for the imminent V-E Day celebration but soon finds himself investigating the deaths of two of its members.
Series Six
The Russian House: The escape of a Russian POW sets off a chain of events that leads to murder and rekindles a conflict between Foyle and his former superior.
Killing time: Foyle goes head to head against the might of the US army when a local girl is found murdered and the finger of suspicion points to a black GI at the US military base.
The Hide: Foyle battles to save a young man accused of high treason from the executioner’s noose in a case that will shatter his personal world to the core.
Series Seven
The eternity ring: MI5 suspects British atomic research has been infiltrated and asks Foyle to look into whether a Russian spy network could be at work in the heart of London.
The cage: Foyle’s investigation into the death of a nameless Russian leads to a mysterious military facility and the discovery that the victim was a spy with dangerous connections to British intelligence.
Sunflower: Foyle is drawn into the bizarre murder of an ex-Nazi defector and leading expert on Soviet intelligence who had been working for MI5.
Series Eight
High castle: Foyle is drawn into the world of corrupt Nazi businessmen when a University Professor is found brutally murdered in a London park.
Tresspass: When the son of a high-profile Jewish businessman is attacked in the grounds of a university, Foyle wonders whether the attack was racially motivated.
Elise: Foyle must find out if there was a traitor within the SOE after Hilda Pierce is shot in an attempted assassination.
Featuring: Christina Hendricks, Retta, Mae Whitman, Reno Wilson, Manny Montana, Lidya Jewett, Isaiah Stannard and Matthew Lillard
Jane Boland: [narrating] “Girls today can be anything. CEO, Olympic gold medalist, even a Supreme Court Justice. We’ve finally broken that glass ceiling. And, wow, sure looks good from the top.”
“Good Girls” (2018-present) follows three suburban Michigan mothers, two of whom are sisters, who are having a hard time trying to make ends meet. They are tired of having everything taken away from them so they decide to pull off an unlikely heist by robbing a supermarket, only to discover that they’re in for more than they bargained. Their successful robbery attracts the attention of the store manager after he recognizes one of the women, but for a different reason altogether than just the money.
Generally network television doesn’t get much attention anymore as most of the trending and cool series are streaming, further from the pressures of supposed public decency, where TV is freer to be weird and dangerous. What a nice surprise it is, then, that there’s a show on network television that is daring and full of fun, that often feels as nervy as anything on HBO. That is there are precious few things but this new series is definitely worth a watch and is available now on DVD.
“Good Girls” definitely borrows from other series, but what it does with those revisited tropes feels fresh and exciting. The series, created by Jenna Bans, has a nice coil to it, tense enough that cliff-hanger endings land with a crack, but loose enough that there’s room for playfulness, for sweetness, for discursive ramble that the show’s three leads maneuver with natural charm.
Those performers are the major asset of Good Girls. Christina Hendricks takes the first-among-equals lead as Beth, a harried mother of four who realizes she maybe wouldst like to live deliciously as she takes a spin around the room with the devil. She’s the Walter White of the group, I guess, and Hendricks is great at communicating that dawning appetite for dark energy, the sudden conflict between Beth’s settled life and the one that until recently she never dared to imagine. Hendricks also has an irresistible chemistry with Manny Montana as a local gangster who becomes Beth’s main antagonizer and enticer. Their circling of one another, juggling threat and flirtation, is the stuff of perfect TV drama, sophisticated in its soapiness.WATCH NOW:
As Ruby, mother to an ailing daughter and the moral compass of the three women, Retta richly expands on her Parks and Recreationappeal, deftly crafting a complicated marital bond with Reno Wilson and managing all of Ruby’s gnawing, mounting worry with sharp humor. It’s a thrill watching an actor prove their range, and Retta would be on Emmy shortlists were there any justice in this world.
Mae Whitman rounds out the trio as Beth’s scrappy sister, Annie, a single mom with an anarchic streak that is sometimes the teensiest bit cartoony, the show’s most frequent indulgence. Otherwise, though, Whitman is just as dialed-in as the other two; when the three of them are together, bickering and negotiating and consoling, the show hums along. They get able support from Wilson, Montana (swoon), Zach Gilford, David Hornsby, Matthew Lillard (yes!!), and especially this season, Allison Tolman as another exhausted mother hip to the crimes being perpetrated and wanting her cut for staying quiet. It’s a really well-curated group of actors, all reveling in the clever contours of the writing.
Episodes:
I’d Rather Be Crafting: Beth must live with the fallout after her plan to get Rio arrested fails. Meanwhile, the women’s crimes finally catch up with them when evidence surfaces that puts them on a collision course with Agent Turner.
Slow Down, Children at Play: Rio forces Beth, Annie, and Ruby to solve a problem with a possible witness, which challenges the women’s morality. Meanwhile, Annie is in an awkward position with Greg and Nancy.
You Have Reached the Voicemail of Leslie Peterson: Tensions between the women, Boomer and Mary Pat reach a boiling point. Beth must intervene when Kenny gets in trouble at school.
Pick Your Poison: Beth’s personal interactions with Rio lead to a fracture with her sister, Annie; the affair between Annie and Greg comes to a head; Ruby seizes an illegal opportunity to pay off a debt.
Everything Must Go: Beth has to rely on Dean as Turner gets closer to the truth but instead of comfort, she finds a troubling secret about Dean when a past familiar face returns.
Take Off Your Pants: Beth and Dean experience growing pains settling into their new roles at work and at home. The women realize Rio has flipped his game yet again, as Turner targets Ruby and Stan.
The Dubby: When Rio gives her an assignment, Beth is forced to take her kids with her. Under pressure from Turner, Ruby crosses a line there’s no coming back from. Annie meets her new manager at Fine and Frugal.
Thelma and Louise: Beth and Ruby’s friendship fractures just as Dean’s vendetta against Rio compromises the women’s business dealings. Nancy, on the verge of giving birth, needs Annie’s help.
One Last Time: Stan faces the consequences for his role in Ruby’s criminal dealings; Dean gives Beth an ultimatum. Greg clashes with Annie’s new boyfriend.
This Land Is Your Land: With Beth determined to lead a new crime-free life, a desperate Ruby and Annie go behind her back to strike a new deal with Rio.
Hunting Season: Rio uses a series of unnerving tactics to remind Beth that it’s not as easy to walk away from his criminal enterprise as she’d like it to be. Annie learns something new about Noah; Ruby makes a reckless decision to save Stan.
Jeff: Mary Pat resurfaces in the women’s lives as they try to make sense of a shocking discovery Beth has made. Beth and Dean have an important family talk with the kids. Annie and Noah try to work through their problems.
King: Turner has Beth in checkmate; the women must contend with a rotten egg from the past. Rio makes a grand gesture for Beth. A new business opportunity presents itself.
Featuring: Hermione Corfield, Dougray Scott and Connie Nielsen
Gerard: [on the corpse strewn boat] “Sea Fever; One Of Them Gets It… Then spreads it around.”
Siobhán: “Doesn’t explain his eyes.”
Released recently on DVD is the horror “Sea Fever” (2019) a mostly set at sea story that has elements of H.P. Lovecraft as well as any number of other tropes seen in horror movies over the past fifty years, including any number of creature features that deal with the unknown. Now while that may not sound like anything original, it does have a few elements in its favour, they are a very good cast of actors led by Dougray Scott and Connie Nielsen, some amazingly clear underwater footage that looks crystal clear even on DVD and some high tension that only increases throughout the narrative of the movie. I greatly enjoyed this movie fir exactly what it is, a direct to DVD horror that surprises more than it has to, including having some wide open shots that any big budget movie would kill for.
“Sea Fever” is based around Siobhan, a scientist studying faunal behavioural patterns, who purchases a place on the fishing trawler the Niamh Cinn Óir, manned by a crew of six. As they set off, the Coast Guard alerts them that their planned destination, which is rich with fish, is in an exclusion zone. Unbeknownst to the others, Gerard takes them into the zone anyway; he needs a large haul of fish on this outing to keep the ship. From here there are a number of discoveries that push the crew to a situations and a climax that many might see coming, but the way in which these are handled with the sparing use of special effects and gore mean it becomes something far better and greater than what it might have been in lessor hands.
Written and directed by Neasa Hardiman “Sea Fever” has many of the designs and elements that are present in someone who has far more cinematic experience than Hardiman actually has. In fact this is the Irish directors first feature as previous work has all been on television, however that work has been in a variety of high profile and successful projects that span different genres. This work has come into play in this movie that is at once a genre piece but also involves people at the centre and not some monster, although of course there has to be one. Like the best genre movies this movie is not ultimately about a creepy monster from the deep it is about the relationships between the crew on the ship, the new person who is at the centre of the terror and how these people all relate to each other over the course of their adventure. The movie also explores trust and knowledge, how these two things are related, what happens when a relative newcomer enters a place she knows little about, but then becomes an expert in what they are all facing. Interestingly the crew refer to themselves as family but most of them all have real family off the ship, when this is tested it becomes clear what some of the crew feel about each other which can be a revelation to some and not to others. In actual fact this more of a drama than horror or sci-fi.
The movie has two well known actors in Dougray Scott and Connie Nielsen who anchor the movie with their performances as well as being the pivot point for the ship and the crew which in some ways you would expect, but the lead of the movie is definitely Hermione Corfield. Corfield who is not the most experienced of actors has appeared in a few action movies so she has a strength and determination that shines through even amongst some more experienced actors. She portrays a person that is a little lost, a loner who must convince people of her expertise as well as a solution that is not palatable to anyone on board. She carries the movie much like a last girl does but has an understanding of where her part is going without singling the ending of the movie which is something that is harder to do than it sounds. All the actors are excellent in what must have been a difficult shoot in small surroundings as well as physical in the outdoors on water.
“Sea Fever” has a unique look above and below the water line as well as above and below the fishing vessel which is a credit to the director and to the cinematographer, Ruairí O’Brien, who like the director has much experience on television but not a vast amount in feature films. It is a credit to both of them how the movie looks as it never seems dull, tired or worst of all, cheap. That is not to say that movie is ultra low budget because it isn’t. “Sea Fever” could have had at least a limited theatrical release as it does look great, I watched it on DVD and was surprised by how the picture popped. the special effects are very good, used sparsely but when you see the ‘monster’ it looks unique, meaning and scary.
I recommend “Sea Fever” highly and it would be a welcome addition to any collection, my only negative is that I would have loved a copy on Blu-ray.
Featuring: Kevin Whately, Laurence Fox, Rebecca Front, Clare Holman, Angela Griffin and Steve Toussaint
[examining the scene of a murder – the victim has been hit over the head with a large mirror]
Dr. Laura Hobson:“The jugular vein and carotid arteries were sliced right through.”
DS James Hathaway:“By a piece of the mirror?”
Dr. Laura Hobson:“On reflection, yes.”
DS James Hathaway: [groans] “It’s too early for jokes.”
Released recently on DVD is the first five series of the English crime drama “Lewis – Season 1 – 5 ” (2006-2015) which itself is a spinoff of the long running “Inspector Morse” (1987-2000) which featured John Thaw as Detective Chief Inspector Morse and Kevin Whately as Sergeant Lewis who were a mismatched pair that were always solving crime in Oxford.
This new series sees the now promoted Detective Inspector Robbie Lewis, still played by the excellent Kevin Whately, now he is assisted by his partner D.S. James Hathaway played by newcomer (to the series) Laurence Fox who as an educated police officer does an excellent job acting the part Morse used to, which is still a priceless dynamic.
As you would expect the relationship commences on a rocky note but as all odd couples do, both police officers find their feet over the series which, because of all those involved is done as smartly as possible with excellent directors and a great supporting cast with some excellent guest stars in each story. Together they investigate murder mysteries against the historic and glorious backdrop of Oxford and its University campus. With Clare Holman as Dr Laura Hobson and Rebecca Front as Chief Superintendent Innocent.
It’s pretty simple in terms of whether you will enjoy this series, if you enjoy mysteries that are set in idyllic locations as well as a storied University with all that entails you will love this series. It has a number of excellent actors who take their job seriously so they inhabit their characters which is fun to watch. I had never watched much of “Inspector Morse” but when it came to this series I really enjoyed it and was sad when it ended.
Episodes
Series One
Repuatation: DI Robert Lewis teams up with DS James Hathaway to look into the murder of an Oxford mathematics student.
Whom the Gods Would Destroy: A middle-aged Oxford graduate is found murdered. The investigation implicates a senior university figure and leads to a long-hidden secret.
Old School Ties: A former criminal computer hacker turned best-selling celebrity and one of his student sponsors are murdered after being invited to lecture at Oxford.
Expiation: When an Oxford housewife is found hanged in her home, Lewis and Hathaway unearth a far darker murder case than the initial suicide verdict suggests.
Series Two
And the Moonbeams Kiss the Sea: The murder of a maintenance worker at the Bodleian Library and the death of a popular Art student seem to be linked.
Music to Die For: Lewis investigates the garroting of an aging Oxford don planning an Wagnerian festival and discovers a tenuous connection to his former boss, Inspector Morse.
Life Born of Fire: The suicide of Hathaway’s old friend tests his relationship with Lewis as he must come to terms with ambivalence about his own sexual past.
The Great and the Good: Lewis and Hathaway become involved in the drugging and rape of a schoolgirl and discover that it is connected to several bizarre murders.
Series Three
Allegory of Love: The fabulously successful Oxford-based fantasy novelist seems to Lewis to be the key to solving the bizarre murder of a beautiful woman with a mirror.
The Quality of Mercy: Lewis investigates the murder of student Richard Scott. He was killed just before premiering The Merchant of Venice. During the investigation Lewis gets personally involved.
The Point of Vanishing: A former religious fanatic who deliberately tried to kill an outspoken atheist in a car crash but only succeeded in crippling his daughter is murdered.
Counter Culture Blues: The lead singer of a 60s rock band who is believed to have committed suicide 35 years earlier suddenly materializes and wants to reorganize the group.
Series Four
The Dead of Winter: Murders occur in Crevecoeur Hall, a lavish Oxford estate where Hathaway’s father was in service and he spent his boyhood.
Dark Matter: An Oxford professor, also an amateur astronomer and recently renewed churchgoer, is found dead in the school observatory under suspicious circumstances.
Your Sudden Death Question: Six couples gather at Chaucer College for a competitive weekend 5000 pound trivia contest but several of the participants are summarily murdered.
Falling Darkness: During a Halloween, one of Dr Hobson’s college roommates is found dead with a stake through her heart and a garlic bulb in her mouth.
Series Five
Old, Unhappy, Far Off Things: As the last remaining all-women’s college in Oxford is bidding farewell to one of its most distinguished professors, murder rears its ugly head.
Wild Justice: During an ecumenical conference in formerly Catholic St. Gerard’s college, the poisoning of a female black American bishop triggers a series of bizarre murders.
The Mind Has Mountains: The ethics of a questionable drug on the Oxford campus of anti-depressants calls into account the questionable judgment of a psychiatry professor.
The Gift of Promise: When a retired MI5 official writes her best-selling memoirs, a chapter in her book about an unsolved IRA cold case causes consternation and ultimately several murders.
Featuring: George Peppard, Alan Ladd, Bob Cummings, Martha Hyer, Elizabeth Ashley, Lew Ayres, Martin Balsam, Ralph Taeger, Archie Moore, Leif Erickson and Carroll Baker
Jonas Cord: “What do you want to see on your honeymoon?”
Monica Winthrop: “Lots of lovely ceilings!”
Released recently on DVD and Blu-ray is the now classic “The Carpetbaggers” (1964), a drama that when it was originally released was a precursor to the new Hollywood that was to come with the arrival of Arthur Penn’s “Bonnie and Clyde” (1967), what set it apart is the fact that it still has Hollywood tropes, a very out of place happy ending and whose entire narrative is a classical themed story about salvation (of sorts). What “The Carpetbaggers” almost does is to expose a part of classical Hollywood that had rarely been seen, while at the same time attempting to lift the lid on one of the more enigmatic larger than life people who ever lived in the billionaire Howard Hughes. The movie was a sexual awakening of sorts, with many scenes that at least allude to sex unlike many mainstream Hollywood movies before. However like many Hollywood movies before it the main character can have any woman he likes at a whim, not only this some scenes are almost rape like in their setting but without any consequences for either the perpetrator or the many victims. This coupled with the ending means this is a flawed movie, especially for today’s audiences, however the performances of George Peppard, Alan Ladd and Elizabeth Ashley for me make this a much watch particularly as this is Ladd’s last onscreen performance.
Much like Howard Hughes the main character in “The Carpetbaggers”, Jonas Cord, seems to answer to no-one while taking risks that always seem to pay off while at the same time alienating almost all the people that are directly involved with him or even care. The movie is a character piece of sorts although at a running time of two and half hours and being filmed in Panavison it seeks to have a Hugh scope. Like Hughes himself it seems Cord is on a journey of self destruction because of a variety reasons some obvious, some not so while it seems we are, as an audience asked to understand Cord as flawed but of good character, for reasons that to really are a little too much to ask.
“The Carpetbaggers” concerns Jonas Cord a thoroughly spoilt and disagreeable man who inherits a fortune when his Father dies of a heart attack while they are arguing. After the death Cord begins young starting airlines, building his own planes, directing films and involving himself in a string of affairs as well as building more of a fortune in the corporate world and 1930’s Hollywood.
Directed by Edward Dmytryk “The Carpetbaggers” sees him in excellent form as a classical Hollywood director who made some of the best examples of anything within the genres he operated in. This is no different here, any weaknesses in the movie come from the actual script as well as the aims that the studio had in producing this movie. This movie would not be anywhere Dmytryk’s best work but in truth this was one of the last movies he directed. This is a movie that is a dichotomy, one one hand it is trying to be something new and inventive but it is held back or restrained by its structure, its conclusion and the fact that it is a melodrama that requires softer hands to manipulate it into something greater than what is on the page.
Led by a pitch perfect performance in the form of George Peppard who would never have another character like Jonas Cord to play again he relishes in his portrayal, in fact this was possibly as close Peppard got to playing himself onscreen as he had some of the same issues Cord did but in his own life. The only real issue is that the character, not the performance is one note for ninety percent of the movie, he lacks any nuances that say Jonathan Shields played by Kirk Douglas had in the classic “The Bad and the Beautiful” (1952) which is a missed opportunity.
“The Carpetbaggers” has much edge to it, in fact it is much harder edged than the later Martin Scorsese film “The Aviator” (2004) which really did play to Howard Hughes being a misunderstood genius instead of a spoilt man child who had to have everything his own way to the detriment of everyone else, so much so that when he didn’t get his own way he went mad. The difference within this movie is that just because he is a ruthless undustrialist then all his behavior is forgiven and it appears he lives happy evert after.
Even with some of the negatives this is a compelling movie that I would recommend to watch especially on blu-ray as the picture really pops on the right screen.
Featuring: Martin Clunes, Neil Morrissey, Leslie Ash, Caroline Quentin and Harry Enfield
Tony:“Why does Dorothy still live with her parents?”
Gary Strang: “Her Mother keeps threatening to kill herself if she moves out, I think she should risk it.”
Some shows remain popular for years and always seem to make a comeback in one form or another, this is the case with the recently reissued DVD of “Men behaving badly” (1992-2014) that featured some of the UK’s most popular comedic and dramatic actors of the past thirty years in Martin Clunes, Neil Morrissey, Caroline Quentin and in its first series the great Harry Enfield. While the 1980s had produced some of the great alternative comedians as a reaction to Margaret Thatcher, the nineties offered up John Major who was as bland as could be by comparison which meant comedy had to go elsewhere. In reaction to how audiences were feeling the idea seemed to be to go back to the 1970s to actual sit-coms based around one premise, this gave us many similar comedies, youngish people in flats, possibly the most well known is this one, “Men behaving badly”, a show that set men at the centre of the story with their (mostly) point of view being offered to audiences with all that entailed, for good or bad.
The idea was simple, Gary and Tony are two London-based beer-guzzling flatmates revelling in a second childhood, hours of TV, and mindless talks about women, the kind of behaviour that puts their relationships in jeopardy with Dorothy (Gary’s girlfriend) and Deborah (an attractive blonde in the flat above). This was pretty much it in a nutshell, to squeeze forty two episodes out of that with few scenes away from both flats is a testament to strong performances of the central cast who you can tell are far better than the material. Series one was the only series to feature Dermot, played by Harry Enfield, and the only series not to feature Neil Morrissey as Tony.
There is no doubt “Men behaving badly” was a right time, right place comedy that enjoyed a huge amount of success for a particular audience, that is a mostly white, male and I would say middle age. It attempts to say one thing, live how you like with little consequence, that is be hedonistic but have everything that does not go with that, the main element of that is stability. This is a show that feels out of place in 2020, in fact it is no surprise that by the time the final three episodes aired in 2014 the dynamic of the series had altered to a point that it would be far different to the one that was first broadcast way back in 1992. Even though the cast were all in their fifties when the last episodes aired this was when they decided to settle down and at least act grown up which lends to the idea that both Gary and Tony were man children, the ugly side of Peter Pan because no matter what you may think, to becoming a whole person you need to grow up and accept responsibility at some point. I would say that it should be done before your fifth decade of life, it also says nothing about the design of the women in this series.
No matter what you may think this is a show of its time, there is no doubt that it does have very funny moments but comedies have moved on to where they are not all about white men who are misogynistic, wanting the perfect woman who they can dominate in almost every way but will leave when it either gets too tough or the women want more than cooking and having sex.
All in all if you were a fan of the show then this set will see you right, it is good value for money and will be every bit as good as you remember. If you are looking for something fresh then steer clear unless you either want to watch some great comedians or are looking for counter programming to what is around in 2020.
Episodes
Series One
Intruders: Dermot owes rent to Gary, but has spent the money on a new suit. The pair fear who will be moving into the newly vacant flat above them. Such fears are dashed when it turns out to be a slim attractive bottle-blonde woman, Deborah. She has bought it and will be living there alone.
The Bet: Gary has promised to take Dorothy to the opera, but Dermot has made the same promise to Deborah. Unfortunately there are only two tickets, hence the pair play a game of chess to win them. Gary wins; Dermot tells Deborah that his wallet – with the tickets – has been stolen. Gary takes Dorothy, but they cannot get in because the tickets are forgeries.
Alarms and Setbacks: Gary has a new alarm system installed into the house, leading to a power cut. But it is not just the alarm system that has gone haywire, so has Gary and Dorothy’s relationship.
Animals: Gary and Dorothy are about to split up, but instead agree to have an open relationship. Dermot starts a new job in marketing where he meets the sister of an ex-girlfriend.
Sex and Violence: Dermot lures Deborah into having a meal with him at the flat, but the hired organist is a disappointment. Sabotaging the evening further, Deborah’s boyfriend Mike returns from Singapore after having sex with other women there – and headbutts Gary. Dorothy tells Gary that she has split from her boyfriend Graham.
My Brilliant Career: Dermot tells Deborah that he has been sacked for assaulting a child customer at work. He gets a job as a waiter at Deborah’s restaurant. Gary intends to change employers. He dreads about telling George and Anthea that they are going to lose their jobs. During a meal with Anthea, George and Dorothy, celebrating Anthea’s birthday at Deborah’s restaurant, Gary intends to tell them the bad news. However, after Dermot informs Gary that Gary’s prospective employer is not going to recruit him, he no longer needs to tell them. Dermot is dismissed for kissing a customer in front of her boyfriend.
Series Two
Gary and Tony: Gary receives a postcard from Dermot saying he will not be returning home, after finding love abroad. Gary advertises for a new flatmate. He is very disappointed with the prospective flatmates whom he interviews; he chooses record seller Tony Smart (Neil Morrissey).
Rent Boy: Gary is disappointed at evidence suggesting that Tony is gay. He visits Tony at his workplace, where he finds out that he is less successful than he claimed and runs a second-hand record store. Dorothy asks Tony, who says that he is not. Tony pretends he speaks German in order to translate a letter for Deborah from a customer at her restaurant. Tony gives an unfavourable fake translation, after which Dorothy – who studied A level German – translates it properly.
How to Dump Your Girlfriend: Tony is unhappy in his current relationship, and Gary turns on his domestic persona and creates a new cleaning rota for the home.
Troublesome Twelve Inch: When Gary discovers that one of Dorothy’s records is rare, he sells it to Tony at his record store. However, when Dorothy begins to question her record’s whereabouts, Gary quickly creates a web of lies to cover up the truth. Meanwhile, Tony takes Deborah on a date.
Going Nowhere: Dorothy, Gary, Tony and Deborah go out shopping. Dorothy contemplates splitting up with Gary, who is trapped in a lift with the career-troubled Deborah. Tony’s newly found happiness (a rusty old van), is also going nowhere.
People Behaving Irritatingly: Tony’s annoying brother and girlfriend are commandeering Gary’s flat, whose tolerance is wearing thin. However the foursome’s attitude soon changes when they discover a free holiday is on offer, courtesy of the irritating couple.
Series Three
Lovers: Gary feels sexually inferior to Tony, when stumbling onto the subject of how many women the pair have each had sex with. Gary has only had sex with three women, but claims that he has had sex with 50 – and sets out to fake proof of his supposedly many ex-lovers to an unconvinced Dorothy and Tony.
Bed: The broken fence is blowing in a strong wind, preventing the foursome from getting any sleep – and a stomach ache is paining Dorothy. In the depth of night, Deborah tells Tony to fix the fence; he tries repeatedly, until giving up. Gary goes to an all-night chemist to get some indigestion medicine for Dorothy.
Casualties: Gary has got into the habit of persistently lying; hence when George is injured in the office and Gary is to blame, he attempts to cover the fact up so that Dorothy doesn’t find out the truth behind the accident. Meanwhile, Deborah has decided to sell her flat.
Weekend: Gary and Dorothy go on a romantic weekend together; while Tony is left to fend for himself at the flat. Simultaneously, he’s lost in thought over Deborah, who now has a new boyfriend – arrogant estate agent Ray.
Cleaning Lady: Gary becomes obsessed with the newly hired and attractive young Portuguese cleaning lady who has been hired to conquer the squalor of the men’s flat. Tony has found a modelling job and intends to use the cleaning lady to make Deborah jealous, by pretending that she is his girlfriend.
Marriage: A drunk Gary proposes to Dorothy, which he regrets the next morning. Tony is jealous of Deborah’s new relationship, and sets up a bugging system to listen in on the couple.
Series Four
Babies: Gary had a nightmare about marrying Dorothy and both of them being pregnant. Dorothy considers having a baby with Gary, but his lack of maturity gives her doubts. Deborah asks Tony to look after her flat whilst she is away. He accidentally spills orange juice into her underwear drawer, after reading her diaries, which angers her.
Infidelity: Deborah is engrossed in a drama programme on TV which Tony finds boring. After he fails to divert her attention onto himself, she loses patience and says that although she finds him attractive, his selfishness and immaturity will always prevent them being a couple. Tony fails in his attempt to entertain residents at the local old people’s home, having done so in an attempt to show Deborah that he cares about other people. Gary suspects that Dorothy is having an affair. He asks Dorothy outright upon her arrival at the flat, which she does not gve his a proper answer to. He decides to play detective in order to find out Dorothy’s whereabouts and uses a disguise (a Mexican hat) and a red Nissan Micra which he sits in outside Dorothy’s parents’ house to keep watch on visitors. She later tells him that she is enjoying an affair with a radiographer colleague, Jamie.
Pornography: Tony’s girlfriend is disgusted by his collection of pornographic magazines and leaves him. Gary is bitter about not being invited to Deborah’s dinner party, which Dorothy and her new boyfriend Jamie attend. Gary decides to hold his own dinner party, with Les preparing the food; it goes badly.
Three Girlfriends: Tony is finding juggling three different girlfriends a difficulty, and tries to work out which of them to dump. Gary unsuccessfully encourage one of them to have sex with him – and later tells another of them that Gary has three current girlfriends. Gary’s embarrassing father comes to stay, and Dorothy and Gary’s relationship is pieced back together.
Drunk: In an attempt to rebuild Dorothy and Gary’s crumbling relationship, Dorothy prepares a romantic meal. Unfortunately, her hopes for a night of romance are dashed when Gary and Tony indulge in heavy drinking at “The Crown”.
In Bed with Dorothy: Dorothy has just had an operation, but Gary’s attempts at taking care of her seem to be having the opposite effect. Tony is embarrassed with the glasses he has to wear, and is determined the others will not find out that he has to wear them.
Playing Away: Tony resorts to extremes when attempting to remove his tooth without having to see a dentist. Gary and Deborah are away on a creative writing course. Tony and Dorothy get drunk and have sex, and are discovered in bed together by Gary on his return.
Series Five
Hair: Tony returns from his trip around Europe, and is not pleased to find out that Dorothy has moved into the flat. Deborah is unhappy and Tony tries to impress her with his beard.
The Good Pub Guide: Gary and Tony are both shocked when their affectionately loved pub (The Crown) is being revamped as landlord Les has been fired and introducing a new landlord Ken. Dorothy too, has concerns of her own; she confronts Gary about doing all the housework and Tony pretends to share Deborah’s interest in astrology to impress her.
Cowardice: Dorothy and Tony are avoiding Gary after cowardly stepping out of an aggressive driving dispute. Hence Gary hires a “large man” to prove his manhood. But as always, things do not go to plan. Tony and Gary speculate whether Debs is in a lesbian relationship with a friend staying with her. Tony gets a job in The Crown.
Your Mate v Your Bird: There’s no room in Gary’s flat for a third-person, and he begins having nightmares about telling Dorothy or Tony that one of them must leave. After telling Tony to leave, Dorothy announces she’s leaving the flat to move in with Deborah; Tony hence returns.
Cardigan: Gary seems to be slipping into middle-age mode and finds he is wearing the same clothes as George. To avoid descending into the crisis of age further, Gary organises a night out to a rave. Deborah is now a mature student and Tony feels rejected, while simultaneously jealous of her newly-found student friends.
Rich and Fat: Tony reads Gary’s bank statement, discovering that he has £33,000 – which those around him develop an appetite for. Tony has gained a rather large appetite of his own, and a fat belly to go with it.
Home-Made Sauna: Tony makes a sauna out of the shed. Deborah and Dorothy depart from the men to go on a sailing weekend. Tony and Gary are then left to entertain their attractive female neighbours with a barbecue – a wooden one made by Tony.
Series Six
Stag Night: In yet another attempt to impress Deborah, Tony is helping pregnant women to give birth in water. Dorothy has agreed to marry Gary, but the events of their wild stag and hen nights make the couple think otherwise.
Wedding: The group prepare for Dorothy and Gary’s wedding reception, with Tony the nervous Best Man. The day does not go according to plan when the registrar collapses, and in the end the event is called off. However, the couple still venture off into the sunset for their honeymoon. After five long years and an array of desperate efforts, Tony finally gets to have sex with Deborah.
Jealousy: Lost in happiness and rapt in love, Deborah and Tony are now a couple. In contrast, Dorothy and Gary seem to despise each other. Nevertheless the foursome head off for a weekend away in a caravan, where Tony gets jealous of their camping neighbours and Gary attempts to prove to the group that he can instantly stop smoking, leading to hair-tearing chaos.
Watching TV: The group settle down for a night in front of the TV, while deciding to play a chain of tricks on Tony, because they think that he is too happy. In between their pranks, they reminisce about old TV shows including The Good Life.
Ten: Dorothy’s ten-year-old nephew comes to stay, while Gary and Dorothy attempt to save their deteriorating relationship by visiting a counsellor. Meanwhile, Tony meets Deborah’s mother, and despite his best efforts, things go from bad to worse.
Sofa: Gary loves his worn-out, dirty sofa. However, Dorothy pressures him to dispose of it because of its poor condition. He reminisces about the girls who have sat in it. Tony wakes up after a drunken night out, horrified that he has brought home a live snake which he bought from a man in the pub. Dorothy and Deborah sit on the new sofa. Gary and Tony put the old sofa and the snake on the Cerne Abbas Giant.
Christmas Special
Jingle Balls!: Christmas time, a time of love, food and fun. However at Gary’s home Christmas time is a time of hate, burnt turkeys and deep fat fried phones! Gary is determined to do the cooking, and Deborah wants to split up with Tony, who’s thrilled with his new drum set.
Last Orders
Performance: Gary and Dorothy are determined to try for a baby; however Gary has a slight impotence problem so collects a heavy collection of pornography to solve the problem. Meanwhile, Tony decides to move in with Deborah.
Gary in Love: Gary attends a conference in Worthing, and Dorothy, Deborah and Tony tag along for the trip; Tony and Gary make the local headlines by stealing a large ornamental fish, and Gary falls in love – and not with Dorothy.
Delivery: In the final episode, Tony takes up his new job as a postman; however Deborah believes he’s become boring as a result. Meanwhile Gary gets heavily drunk to break the news to George and Anthea the office is closing down; and Dorothy goes into labour, but with a drunken Gary and Tony (who’s now back to his old ways) and an unconscious midwife.
Featuring: Richard O’Sullivan, Tony Britton, Tessa Wyatt and David Kelly
Robin:“Can you fill up the salt please Albert.”
Albert:“It’ll take me a while to get the salt through the hole.”
Released in the next two weeks is a comedy series that lasted six series in the form of situation comedy “Robin’s Nest” (1977-1981) that cemented star Richard O’Sullivan as one of the pre-eminent leading comedy actors of his time, something he could be said to be from 1973 when he starred in “Man about the House” (1973-1976) (Robin’s Nest was a spin off from this) to 1988 when the last series of his show “Me and my girl” (1984-1988). The show concerned an unmarried couple who open a Bistro which at the time may have seemed quite revolutionary since they lived together but like O’Sullivan’s other successful shows it was based in broad humour as well as memorable characters played by excellent actors.
Co-created by Brian Cooke and Johnnie Mortimer who had a string of successes from the 1970s through to the 1980s here in “Robin’s Nest” have what is a pretty typical story for a sit-com especially of the day. Like many series it is exceptionally white and shows people of the middle class making a success of a business that whilst it is hard work seems to flourish in what would be pre-Thatcher Britain. In fact the times would become darker for the UK and this show ended on an idea that would proliferate in the 1980s, that is a move from an owned business to working for a large corporation for quite a large sum of money, it is possible Robin was to become a yuppie, with all that entails.
As mentioned the centre of the show is Richard O’Sullivan who makes his job look effortless but his real strength in this show as well as all the other shows he appeared in was to give his costars their own time in the sun. Not only that he always was able to have at least one character who would steal scenes, sometimes even the entire series. In “Robin’s Nest” there were a few of these actors in particular of course is the great David Kelly who as the one arm kitchen hand Albert Riddle was always given the best one liners to always give the series a reliable laugh. On top of that O’Sullivan always had a strong female character in his sit-coms and in Tessa Wyatt as his girlfriend this is no different. Wyatt as Vicky is from the outset not just a token character but has real feelings, has some agency and makes a meaningful contribution to the series.
The series starts off with a fairly simple premise, in the first episode Robin and Vicky, who share a flat over a Chinese take-away, discover that the tenants have disappeared owing rent to the landlord, Vicky’s father James Nichols. It is the practical Vicky who comes up with the perfect solution: Robin should take over the take-away and convert it into a bistro (The “Robin’s Nest” of the title). Robin cannot afford to go it alone so he has to go cap-in-hand to Vicky’s father (Tony Britton), to ask him to be his business partner. Although James disapproves of Robin (believing him to be beneath his daughter), he knows a sensible business deal when it is offered to him – despite his failings, Robin is a brilliant chef – and he agrees. Tension and misunderstandings arise due to their mismatched relationship.
There is no getting away from the fact that this series is over forty years old, so there are definitely elements that date it, the most obvious are the racial stereotypes as well as the gender issues that do crop up. The storylines are typical of the time, but the real secret to the series are the actors, the characters and the heart that was instilled into the writing from the outset.
I actually recommend this series completely, it is a breath of fresh air and is a precursor to all the English comedies we see now, remember most sit-coms, the successful ones start with a premise, a kernel and grow, much like this one did.
Episodes:
Season One
Sleeping Partners: Robin Tripp, now a fully-qualified, unemployed chef, harbours ambitions of opening his own bistro…for people who appreciate high prices. He is helped by his girlfriend Vicky – but hindered by her father.
The Bistro Kids: It’s coming up to opening day at the bistro and Robin has problems with a stuffed bear, half a pig and a Public Health Inspector. When their first customer wants a dry sherry, Vicky has to get wet, while her father can’t wait to try his hand as a waiter.
A Little Competition: While Robin knew he was going to have competition from the restaurant next door, it turns out to be more than he bargained for. Vicky renews an old acquaintance and her father tries his hand at a little match-making.
The Maternal Triangle: Robin is not keen to meet Vicky’s mother, since he’s heard she has a nasty habit of hitting people on the nose. The new dishwasher thinks he can cope single-handed, but Vicky is not so sure.
Piggy in the Middle: Vicky’s father decides that the restaurant needs some splashes of colour on the walls. Fortunately, he’s romantically involved with a young female artist who he believes can provide exactly what is needed. Robin and Vicky are not so sure.
A Matter of Note: When a counterfeit ten pound note finds its way into the restaurant till, Robin must attend a police I.D. parade. Unfortunately he picks the wrong man and worries about sparking off an underworld vendetta.
Oh, Happy Day: Vicky wonders whether it’s time that she and Robin got married. A quiet wedding for two is planned…no cluttering up the Registry Office with relatives. Nicholls disagrees, however. This is a father’s big day and he intends to make the most of it!
Season Two
As Long As He Needs Me: James Nicholls is unwell and Vicky feels she should look after him. She leaves Robin to cope with the restaurant and moves back to her old bedroom in Nicholls’ flat. For Nicholls it’s just like old times, but Robin fears it’s a plan to force them apart. Albert is delighted because it means he is promoted to waiter.
The Seven Pound Fiddle: Money is missing from the till. Nicholls blames Albert and sacks him. It becomes apparent that Albert is not guilty, but since he is of no fixed abode they have a problem trying to find him to apologise – especially when the police get involved.
Ups & Downs: The discovery of a cellar underneath the restaurant causes some disagreement between Nicholls and Robin. Robin wants to turn it into a wine cellar – whereas Nicholls thinks they should place more tables down there.
Three Times Table: Robin decides to ‘go continental’ and put tables outside the restaurant. This annoys the owner of the steakhouse next door and he makes a take-over bid for ‘Robin’s Nest’. Nicholls is keen to sell up and tries to persuade Robin to move to smaller premises. But Robin wants to stay where he is.
Great Expectations: Victoria thinks she is pregnant – something that delights Robin and upsets Nicholls. He soon has plans for his grandchild though: university, Sandhurst and politics. Robin, naturally, resents this new intrusion. Albert, meanwhile, is preoccupied with the restaurant’s new acquisition: a fruit machine.
Love & Marriage: The big day has arrived and Robin and Victoria are actually getting married. They want to make it as quiet and intimate as possible, but Nicholls has other plans. This is his only daughter and he wants to enjoy her wedding. His gift to them is a two-week honeymoon in Paris, but the newlyweds have rather more practical plans for the money.
Season Three
You Need Hands: Nicholls decides he needs a cabaret and who better to provide it than Sidney Bacharach, one of the finest pianists of 1927? However, it looks like the restaurant may close anyway: Robin has damaged his cooking arm, and Albert refuses to lend a hand.
The Candidate: Nicholls decides to run as a candidate in the local elections, using the restaurant as his campaign headquarters. But canvassing and coq au vin is a recipe for disaster.
Just Deserts: Nicholls gets his fingers burned when an old flame of Robin’s turns up at the restaurant. Robin deserts the nest and moves in with his father-in-law.
Away From All What?: It has been ages since Vicky and Robin had a holiday. But Nicholls refuses to pay for a stand-in chef – until Robin gets the mumps.
England Expects: Nicholls’ regimental reunion is due, and where better for him to hold it than Robin’s Nest? Unfortunately, along with the Regiment and the Regimental silver goes the Regimental menu: Trenchmouth soup, boiled mutton and Lady Daphne’s Delight – spotted dick!
Once Two Is Three: Robin has the chance to open a new restaurant in Brighton, 60 miles from his father-in-law. But Nicholls uses his mind-reading ability on Albert to forestall the deal.
Dinner Date: An old girlfriend returns to England and recaptures Nicholls’ fancy. Marriage is a possibility and Robin is keen on the idea.
Everything You Wish Yourself: A mix-up in dates brings Albert an unexpected Bonus.
Be It Ever Be So Humble: There’s a crisis in the bistro when Albert resigns as a washer-upper. Vicky and Robin discover they’ve been breaking the law.
Day Trippers: Robin and Vicky decide there’s nothing like a nice peaceful picnic on their day off. And that’s exactly what they get…nothing like a nice peaceful picnic.
The Long Distance Runner: Robin decides to take up jogging, so it seems, but does he have another reason for going out early in the morning? Nicholls is shocked when he finds out the truth.
At Harm’s Length: Vicky thinks her Uncle Sam is playing around with another woman. Despite Robin’s protests she decides to do something about it.
The Happy Hen: Nicholls’ ambition to own all the eating outlets in Fuham takes a step forward. He buys the building next door to Robin’s Nest to pursue his plans of opening up an omelette house. However, he ends up with egg on his face.
Season Four
Should Auld Acquaintance: The bistro, newly decorated and open for business, is threatened with sudden closure after Robin encounters an old friend in dire need. Nicholls pulls a few strings in Fleet Street. Albert is confronted by a lady in her underwear, and Vicky contemplates leaving home.
Person Friday Required: A chance meeting with an old colleague starts Vicky wondering if it’s wise for husbands and wives to work together. A return to her airline job could put the mystery back into her marriage.
Lost Weekend: Lucky Albnert wins a weekend away from it all. But a little conniving turns it into a busman’s holiday for Robin and Vicky – and a not-so-lucky reunion for Nicholls.
Too Many Waiters Spoil The Bistro: Nicholls has an idea: he can increase the profits in the restaurant by increasing the number of tables. This leads to an increase in staff, which causes an increase in problems.
September Song: Robin’s relationship with Nicholls is bad at the best of times but, when Vicky comes home to find them brawling in the street, she suspects that her father is not well. When Nicholls apologises to Robin, she’s certain of it.
Sorry Partner: Robin and Vicky are kept busy when Nicholls tries to recapture lost glory on the badminton court.
Albert’s Ball: Albert’s anniversary party looks like being his farewell party when a customer gets more than he ordered – and Robin’s Nest acquires a pest.
Special
Christmas at Robin’s Nest: Christmas in the Robin’s Nest household is just like everywhere else – bad tempers and frayed nerves, with a touch of seasonal goodwill thrown in. Of course, Christmas is also a time for surprises, and the biggest surprise for Robin is one that he can well do without!
Season Five
Pastures New: Robin is fed up with slaving over a hot stove and decides to fly the nest in favour of warmer climes. He’s unaware, however, that other plans have already been hatched.
A Man of Property: With the forthcoming arrival of Robin and Vicky’s baby, they realise that they will need more room in the Nest – the question is: where will they find it?
If You Pass ‘Go’ Collect £200: With the new responsibility of fatherhood, Robin wants to buy out his father-in-law’s share of the bistro. The bid looks doomed until Nicholls gets an alternative proposition – from Albert.
Never Look A Gift Horse…: Prospective grandparents can often get more excited over forthcoming offspring than the parents-to-be, and Robin’s mother-in-law, Marion, is no exception. It must be nothing but the best for her grandchild.
Just An Old-fashioned Girl: Robin and Vicky find that they are becoming “go-betweens”, what with James Nicholls finding himself a new romantic interest and Gertrude getting herself in a tizzy’s over Albert.
Great Expectations: The signs are all there that the baby is imminent: Nicholls is tense, Robin is having nightmares and Vicky is bored.
Christmas Special
No Room at the Inn: Christmas dinner at the bistro isn’t the same without Vicky and the twins. With three men and a turkey, the family get-together lacks a woman’s touch. But when Marion turns up to provide it, peace on earth flies out of the window.
Season Six
Move Over Darling: Running a bistro and trying to visit Vicky and the newborn babies is not easy until, to Nicholls’ and Vicky’s surprise, Robin decides to delegate. But their surprise turns to horror when they hear whom he has chosen.
The Homecoming: It’s time for Vicky and the twins to come home, and the rivalry between Robin and Nicholls over whose car she should travel in from the hospital causes more than a little friction.
No Smoke Without Fire: There’s consternation in the Tripp household when Albert suspects that “something” is going on between Gertrude and…another man!
When Irish Eyes Are Smiling: A change is as good as a rest, and it’s a rest that Vicky and Robin need. So they go to stay with Grandad and things don’t work out too well – just for a change.
Anniversary Waltz: When all the food is pre-cooked and ready for a private party it seems the ideal night for Vicky and Robin to go out. After all – what can go wrong?
Wish You Weren’t Here: When Nicholls feels that his daughter needs a bit of a break, his generosity knows no bounds. He even suggests bringing in a temporary chef…so that they can go away without any worries!
The Head-hunters of SW6: When Robin is offered a lucrative and exciting post with an international company, Nicholls has no option but to put the restaurant up for sale.
Written & Directed by: Ann Druyan and Brannon Braga
Featuring: Neil deGrasse Tyson
Ann Druyan:“A world that tiny cannot possibly be the center of a cosmos of all that is, let alone the sole focus of its creator. The pale blue dot is a silent rebuke to the fundamentalist, the nationalist, the militarist, the polluter—to anyone who does not put above all other things the protection of our little planet and the life that it sustains in the vast cold darkness.”
Recently released on DVD, “Cosmos: Possible Worlds” (2020), is the follow-up to the television series “Cosmos: A Spacetime Odyssey” (2014), which followed the original “Cosmos: A Personal Voyage” (1980) series presented by Carl Sagan on PBS, which was a passion project for him. The series is presented by astrophysicist Neil deGrasse Tyson who has been one of the constants as a kind of educator who feels like he can offer his own point of view on everything from his own specialist field, science to movies, sports and politics. Now there is nothing actually wrong with this but when watching “Cosmos: Possible Worlds” I could not help but feel that there was too much input by the scientist and not enough from people who know how to put a television show together, it is all navel gazing, information that seems to be random as well as no real (obvious) structure. For me this is not as big a deal as it might be for others who require coherence and structure.
If I were going to describe this new season of ‘Cosmos’ it would be reactionary, which may seem a little odd and out of place for a show about the Universe, mankind and for this season in particular, the future. Another word I might use is political, that is because “Cosmos: Possible Worlds” is thumbing its nose at least half of the US, as well as the White House and Trump in particular, if you don’t think is true then you are missing a larger point of the series itself.
The reason for the two words reactionary and political is that it takes aim at the right wing, more specifically those that support Trump and those that believe that anyone espousing factual knowledge might be part of the liberal, fake media. To compound that the people behind the show have made it difficult to understand from an episodic perspective which I believe is hilarious. The producers and writers have eschewed any need for recaps, instead deciding to not only move the series forward but the narrative as well, which again may confound expectations, indeed possibly polarising opinions, which this show has now done.
Each of the episodes integrates state-of-the-art VFX, stylized animation and dramatic reenactments to carry viewers deep into the future. It is possible to over stylise a show which this one threatens to do at every moment especially when some narration seemingly has nothing to do with the special effects.
While there is a focus on the distant future, which is presented as optimistic at the expense of the present day. So much of the animation, narration, and sci-fi information is concentrated spent on examples of interplanetary and interstellar travel, colonization for the human race. There is comparably little given over to the current possible extinction event’s, the devastating effects of climate change, or the endless division of classes and bloody battles over dwindling resources. However after the year that has been this narrative is a fresh breath of air that should at least assist people in seeing over their own horizon. There is so much that is not needed in our media, an example are television shows and movies about pandemics, political unrest and anything else that is reflective directly of our times, that is why narratives seperate from these endless tropes succeed and sometimes cannot be understood in their time. Because I can tell you now there are no superheroes or alternate realities or aliens coming to save us, we are it, like it or not.
In saying all of that this is a show that requires perseverance and the full attention of its audience, it also asks something as well, that is go and read, look up some of the ideas, concepts and theories that are thrown at you, but do this after the episode. Dont be afraid to not understand and stop the programme while you go and sort out what is occurring on-screen in front of you.
For me this is a must buy and fits alongside the first two seasons, it is just a little harder going thats all, accept the challenge and hop for more.
Episodes:
Ladder to the Stars: An adventure spanning billions of years into the evolution of life and consciousness. A visit to a 100,000-year-old laboratory. The story of the change in life-style that radically altered human existence and the life of the heretic who found god in the book of nature, opening our way to the stars.
The Fleeting Grace of the Habitable Zone: There is no refuge from change in the cosmos. There will come a time in the life of the Sun when Earth will no longer be a home for us. The story of our ancestors who rose to a comparable challenge and a long-term vision of our future on other worlds.
Lost City of Life: A new vision of genesis at the bottom of the blood red sea of the infant Earth. And the story of the man who found the first clues to life’s beginning in a green jewel. As he searched for life’s origin, he risked his own, daring to toy with his Nazi tormentors.
Vavilov: In the first half of the 20th century pioneering geneticist Nikolai Vavilov traveled 5 continents assembling a treasury of the worlds seeds. He dreamed that science could be the means to end hunger. His refusal to tell a scientific lie cost him his life. The heroism of his colleagues and its direct impact on your life is one of the most stirring stories in the history of science.
The Cosmic Connectome: A voyage of discovery through the evolution of consciousness with stops in ancient Greece, a visit to the largest life form on Earth, into the poignant dream of an abandoned orphan that opened the way to our understanding of the architecture of thought and beyond to a vision of a galactic network of thought.
The Man of a Trillion Worlds: A child lies on the rug of a tenement dreaming of interstellar adventures. At the dawn of the space age, a young Carl Sagan’s career is forged in the clash of his mentors, two scientific titans. Sagan goes on realize his childhood dreams, to carry their research forward and communicate its significance to the whole world.
The Search for Intelligent Life on Earth: A revelation of the hidden underground network that is a collaboration of four kingdoms of life, and a true first contact story between humans and beings who communicate in a symbolic language and have maintained a representative democracy for many tens of millions of years.
The Sacrifice of Cassini: The mysterious untold story of the scientist who figured out how to go the Moon while fighting for his life in a WWI trench. He wrote a letter to fifty years in the future. It made the Apollo Mission possible. And the saga of the twenty-year long odyssey of a robotic explorer ordered to commit suicide on another world.
Magic Without Lies: In the counterintuitive realm of quantum mechanics, light can be two contradictory things, and somehow – no one knows how – an unseen observer can alter the nature of reality. The man who stumbled on this hole in reality and the still- unfolding technological revolution that it made possible.
A Tale of Two Atoms: Two atoms from different parts of the universe meet on a small planet. How a deadly embrace between science and state altered the fate of the world, and a gripping cautionary tale of others who grew used to living in the shadow of grave danger until it killed them all except one.
Shadows of Forgotten Ancestors: From the birth of the devil in ancient Persia where a beloved family dog becomes a seething beast to a searing story of saintliness among macaque monkeys, an exploration of human potential for change. It concludes with the story of how one of history’s greatest monsters was transformed into one of its shining lights.
Coming of Age in the Anthropocene: What kind of world can a child born in 2020 expect to grow up in? And when did our slide into planet-wide environmental destruction begin? The possible world that awaits our baby girl into her 20s: one darkened by our refusal to face the real and mounting challenges we face but concluding with a message of hope.
Seven Wonders of the New World: The young Carl Sagan and Neil Tyson first discovered their passion for science at the NY World’s Fairs of the past. We visit the dazzling Pavilions of the 2039 NY World’s Fair, where problems we currently think intractable have been plausibly solved through public commitment and scientific imagination. And our baby is a woman now, with a baby of her own and a future bright with possibilities.
CBS All Access has released the full trailer for their nine-episode series adaptation of Stephen King’s post-apocalyptic dark fantasy novel “The Stand” which launches December 17th.
Josh Boone and Ben Cavell are the producers behind the series in which a computer error in a Defense Department laboratory leading to a pandemic and a bleak new world stripped of its institutions and emptied of 99% of its people.
A handful of panicky survivors choose sides as good rides on the frail shoulders of the 108-year-old Mother Abigail — and evil are embodied in a man with a lethal smile and unspeakable powers: Randall Flagg.
The cast includes Whoopi Goldberg as Mother Abagail, Alexander Skarsgard as Randall Flagg, James Marsden as Stu Redman, Amber Heard as Nadine Cross, Jovan Adepo as Larry Underwood, Heather Graham as Rita Blakemoor, Owen Teague as Harold Lauder, and Odessa Young as Frannie Goldsmith.
Netflix has released the first trailer for “Mank” which arrives on the streamer on December 4th following a theatrical run in November.
The story sees 1930s Hollywood is reevaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of :Citizen Kane” for Orson Welles.
Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, and Charles Dance lead the cast.
Written by: Jonathan Aibel, Glenn Berger, Elizabeth Tippet, Maya Forbes and Wallace Wolodarsky
Directed by: Walt Dohrn
Featuring: Anna Kendrick, Justin Timberlake, Rachel Bloom, Ozzy Osbourne, James Corden, Ron Funches, Kelly Clarkson, Anderson Paak, Sam Rockwell, George Clinton, Mary J. Blige, Anthony Ramos, Gustavo Dudamel, Kunal Nayyar, Icona Pop, Ester Dean, Flula Borg, J Balvin, Jamie Dornan, Red Velvet, Karan Soni, Charlyne Yi and Kenan Thompson
Cloud Guy:“Anyhoo, what Poppy and Branch didn’t know is that their world was a lot bigger than they knew. Like, a lot, lot, lot, lot bigger!”
Recently released on DVD, Blu-ray and rental is the sequel “Trolls World Tour” (2020) the follow up to the successful toy adaptation “Trolls” (2016) which sees the return of much of the celebrity voice cast as well as the addition of many more. Whilst this new movie is just as you would expect being aimed at a younger audience this is not the only narrative at play as this was a release that originally was supposed to be a tent pole release just as the Covid pandemic took hold. As we have seen over the past six to nine months almost all big budget movies have been postponed until at least next year. However early on Paramount made a huge decision to release “Trolls World Tour” online as a rental which has created a seismic shift in possible release plans and ultimately may have signalled the depowering of cinema chains moving forward.
It may not seem immediately apparent but “Trolls World Tour” may be the most important movie released this year as it broke the lines of battle that has existed in the cold war between movie studios and exhibitors. Now while the digital release may not have garnered the kind of returns that are normally seen or expected with a major release it is the amount of money that was sent back to the studio that is most important. With a direct release online, there are fewer people to share revenue with, which means larger profits and far more quickly than currently exists. In this current environment it also means that it is safer to view at home on any device than making a trip to the movies. It can also mean. A cheaper option for consumers, with no shelling out extra for expensive food, parking and other incidentals. This in fact is not only a win for a studio but for consumers as well. As the year marches on we are seeing low box office revenues for movies such as “Tenet” (2020), “The New Mutants” (2020) and others with cinemas actually closing for the rest of the year. It is too early to tell what large-scale movies will do, wait for cinemas to reopen or take their chances with a premium online option much like Disney’s “Mulan” (2010) which was a kind of success but was not a well-received movie. The test will be when a very good high budget movie is released to a premium service and how consumers react in terms of their dollars. I cannot help but think that “Trolls World Tour” has signalled at least the reduction of the numbers of screens from a public environment to the increase of stay at home movie watching.
The story itself contained within “Trolls World Tour” is based around six Troll tribes representing musical genres Pop, Funk, Classical, Techno, Country, and Rock. Each tribe keeps a magical string that powers their specific kind of music. Queen Poppy takes their tribe’s string and tries to unite the other trolls, bringing along Branch, who is seeking to express his feelings towards her, and Biggie, a stowaway who was tempted by cotton candy. On the way to Volcano Rock City, the trio wind up in Lonesome Flats, the home of the Country trolls. After hearing how downbeat their music is, they try to cheer them up with a pop medley, but wind up in jail. Hickory, a smooth-talking Country troll, comes to their rescue and builds them a raft to take them to Volcano Rock City. On the way, they encounter Chaz, prompting Biggie to leave. Chaz is a bounty hunter sent by Barb to capture Poppy. From here the plot actually gets a little complicated and it is a wonder that the film-makers are able to tie it all up but that might be why there are so many credited writers on this outing.
It seems de rigueur these days to turn up the intensity as well as introduce new story elements with the addition of new characters in Hollywood sequels, which has been done here with “Trolls World Tour” , except instead of making it smarter or original in its devices the idea has been to make what is seen as colourful and as busy as possible. There is no doubt that movies made for children have to be aimed at them and at times some movies are either too long or just involved with their own sense of taste, so I suspect the makers of this movie wanted to dare the audience to look away. On the big screen this may have worked and played to its audience, on a small screen it just is a little tiresome although it does retain a sense of fun with its candy coloured aesthetic.
It does seem that the entire idea of this sequel is merchandising, where we we will be forced to purchase new kinds of trolls for our children to keep up with the mass media that is continually being bombarded on us and of course our little ones. It is actually great to hear that the King and Queen of the Funk Troll tribe should be voiced by George Clinton and Mary J. Blige. I loved hearing Sam Rockwell and Kelly Clarkson as Country Trolls. Of course it is hard to past Anna Kendrick and Timberlake who are so likeable, just as you’d expect.
The question is should “Trolls: World Tour” be a movie that should be watched and the simple answer is yes, it will keep the young ones enthralled with its bright colors as well as the music which is non-stop and as one wold expect nostalgia heavy. The entire movie could be more original and possibly better thought out, it could do with more to hang onto for older people but does that matter? In these times of global pandemic, political uncertainty and drawn lines this is a movie that the entire family can sit down and watch and forgot what is going on outside, at least for an hour and a half.
Special Features
Audio Commentary: Directors David Smith and Walt Dohrn are joined by producer Gina Shay to chat about the production, the plot’s themes and share anecdotes.
Dance Party Mode: After a brief, one-minute intro, the interactive feature offers sing-along opportunities with pop-up lyrics and dance instructions.
Trolls World Tourist Map: Cloud Guy takes viewers on an interactive tour of the six musical realms making up the Trolls Kingdom.
Trolls World Tour Backstage (9 min): Three-part making-of featurette with cast & crew interviews and lots of BTS footage.
Trolls Dance Academy (7 min): Compilation of the same dance instructions from the “Dance Party Mode” feature which can be enjoyed separately.
“Tiny Diamond Goes Back to School” (4 min): New, original animated short.
Trolls Perfect Harmony (4 min)
Deleted Scenes (19 min)
“Trolls: World Tour” is available to rent online and to purchase as well as in physical form on DVD and Blu-ray.
Featuring: Betty Gilpin, Ike Barinholtz, Amy Madigan, Emma Roberts, Ethan Suplee and Hilary Swank
Staten Island:“Alright, listen to me. They grabbed us from all over, and they brought us here to kill us, and they’re still trying to kill us. And they’re coming down the f**king road, and they’re going to be here any f**king second!”
Operator:“Okay. What is your current location, sir?”
Staten Island:“I am at a gas station! Could you please just trace the call?”
Operator:“Of course. That’s a great idea. We’ll trace you, sir. Sit tight.”
Staten Island:“Okay.”
Operator:“Help’s on the way.”
It may seem redundant to say but the last few years has seen much handwringing in the media over how people should be represented as well as how political leanings should be treated in popular culture and there is no better example of this than in this weeks home release, “The Hunt”. This action/thriller was originally meant to be released last year but when the first trailer arrived there was huge outcry from both the left and the right as it triggered, possibly incorrectly, a tsunami of commentary from people who had not even seen the end product. To say there was a massive overreaction is itself an understatement. There is no doubt that the movie sets up what can only be described as right wing archetypes who are generalised against left wingers who themselves are overly exaggerated this is not an entirely original concept. In fact the broad outline is not unlike the original “Battle Royale” (1998) as well as the underrated “American Horror Story: Cult” (2017) mixed together, which I personally see nothing wrong with as it does have a lesson to be learned at the heart of it, even with all the blood, mayhem and frankly unbelievability.
There is no doubt that ever since Donald Trump was elected POTUS there has been a backlash from the left which has been apparent in the media as has the response from the right. “The Hunt” represents something of both of these point of view to a much hyped degree. The movie does illustrate the stress, mental health challenges and the physical toll that Trump’s presidency has brought out in some and where the left lay the blame of the outcome of the last Presidential election. Unfortunately it is not a clear cut story as some would have you believe and there is a complete lack of self awareness as well as understanding of the political process contained within “The Hunt”, which is ultimately its greatest fault, meaning it comes off as a two dimensional moan, attacking those who are following their own, albeit misguided, decisions in picking a leader.
I have made the point before but the past ten years has been a bonanza for genre movies, especially horror, not only does there seem to be more being produced than ever before, especially with the advent of cheap film making equipment, more quality filmmakers entering the genre as well as more production companies realising there is money to be made, especially with the increase in online streaming services. This is where Jason Blum and his Blumhouse production company has entered the market finding a cost/revenue model that works for them, partnering with a major distribution partner in Universal and not limiting itself to theatrical projects, but also partnering with Netflix. What is exciting about this new horror movie is that it does not come from any established horror producers, writers or directors, they are all relatively new to the industry but have created a movie that is a great example of the genre especially heading into a new decade.
“The Hunt” essentially begins with eleven captives who wake up gagged, in a forest, for was transpires as the hunt. In a clearing, they find a cache of weapons and keys to their gags, but upon retrieving them, five are killed by an unseen enemy, three escape over a barbed-wire fence to a service station. I do not not want to give away any more of the plot, but it essentially becomes a road movie of sorts which is an easy way to build a narrative that flows logically which it does even though it attempts to be preachy but ultimately falls flat, mainly because it is slight, aimless and when questions get a little difficult violence seems to be the go to technique to link scenes.
Written by genre specialists Nick Cuse and Damon Lindelof who somehow with all their failures seem to find themselves linked to a variety of projects, here do their best to generalize and vilify as much of the right as possible while at the same time making the left out to be no better. They seem to think that the best answer to problems is violence and that everyone is willing to sell out at a moments notice for money or some kind of forgiveness. As is usual with both Cuse and Lindelof who never seem mind taking others ideas and twisting them into their own work always seem capable of having a kernel of an idea but are too lazy to actually create something meaningful, something that happens here. Directed by Craig Zobel who is a genre specialist as well, is better suited to this material, he made the interesting “Compliance” (2012) which took a seemingly absurd idea making it a reality for a mass audience does something similar here.
Even though the movie is loaded with some terrific character and comedic actors as well a double Oscar winner the real star is the up and coming actress Betty Gilpin who from her introduction steals the show as someone who has not only hidden talents but is possibly been mistaken for someone else entirely. Gilpin, who is best known for portraying Debbie “Liberty Belle” Eagan in the Netflix comedy series “Glow” (2017–2019) portrays someone who seemingly knows what is going on from the outset, has military training and is unfazed by all the people she encounters. Sure the finale might be a little underwhelming as well as unsurprising but stay with Gilpin until the end and there is some reward to be had. Anyone that can, for most of the movie go one on one with Hilary Swank both in dialogue and physically is someone to watch indeed.
Even though “The Hunt” is a flawed movie that takes its subject matter on one hand not serious enough but paints its characters with too broad a brush it still does have something uneasy at its core which is worth exploring. It may have seemed that a Trump Presidency was the very worse culture would have to deal with but since the production of this movie we have see a global pandemic, an election that is shaping up to be one of most tumultuous ever as well as natural disasters that have shaken the globe which really makes this movie pedestrian by comparison, we may long for the days where this movie was the only thing the left or right had to worry about.
All in all this is not a bad horror at all and contains enough to make it watchable, at the same it quite forgettable. Oddly enough I have seen it a few times over the past year and the fact that I can come back to it either says something about me or the movie itself. It is escapism with a moral of sorts, see if you can figure it out.
Special Features
Crafting The Hunt (HD, 5 Mins.) – Standard EPK fluff with interviews with limited cast and crew, discussing the story and tone of the film.
Death Scene Breakdowns (HD, 3 Mins.) – A couple of quick EPK style pieces that look all too quickly at some of the bigger deaths on screen.
Athena vs Crystal: Hunter Or Hunted? (HD, 3 Mins.) – The climactic fight scene between Gilpin and Swank is touched on quickly with a few behind the scenes shots of the stunt people working with the actors.
