• DVD review: “The Gifted – Season One” (2017- present)

    “The Gifted – Season One” (2017- present) 

    Sci-Fi/Action/Drama

    Episodes: 13 episodes

    Created by:  Matt Nix

    Featuring: Stephen Moyer,  Amy Acker, Sean Teale, Natalie Alyn Lind, Percy Hynes White, Coby Bell, Jamie Chung, Blair Redford, and Emma Dumont

    Kate Strucker:“I just can’t believe there wasn’t any warning.”

    Lauren Strucker: “Mom, accept it. Andy is a mutant. That’s how mutant abilities first appear – it’s moments of stress or danger. Dad talks about this all the time.”

    This month sees the release of the first season of the X-Men inspired television show “The Gifted” (2017-present) on DVD, a success that has led to a second season that is airing right now, so what better way to catch up than to possibly binge watch this show right now. There are so many times when watching either comic book movies or television shows that there is an added benefit in knowing what has gone before in respective universes, or just having a general idea of the connected universe a person is actually watching which is great for viewers who are avid watchers, but not so great for casual viewers or people that want to enter a story but don’t want to play catch up’. 

    The really good news about Fox’s new show, “The Gifted” is that it is actually a great starting point for new viewers that know little about the ‘X-Men’ franchise beyond the fact that some people, normally young, have super powers and that others, normally human, are either trying to control them or kill them. The entire ‘X-Men’ franchise is one of those comic book groups that was an allegory for the civil rights movement but has grown over the past fifty years to be an allegory for just about every perceived ‘outsider’ or minority that faces some form of domination by the greater society who normally fear what they do not understand. In terms of that central premise “The Gifted” fits right in, not only borrowing storylines from the comics, but from previous movies as well but doing this by introducing original characters and powers –mostly. 

    The first season of the American television series “The Gifted” is based on Marvel Comics’ X-Men properties, and follows ordinary parents who take their family on the run after they discover their children’s mutant abilities. The season is connected to the X-Men film series, set in an alternate timeline where the X-Men have disappeared.

    One of the first elements to notice in the credits of this new series are some regular ‘X-Men’ producers, as well as some new ones which means there is good news and bad news for potential viewers. First the bad, unfortunately Bryan Singer and Simon Kinberg still have their fingers in the mutants pie, to me there are issues here as these two have not always been a good thing, even now with the newest film it has been delayed by years for undisclosed reasons which is a very bad sign. However the good news is that there is a new talent on the horizon in Matt Nix the shows actual creator who came on late to this project but has been able to cobble together a cohesive narrative that looks forward while planting seeds for future seasons, at the same time giving enough information, normally in flashbacks to keep viewers interested as well as introducing new aspects of the mutant universe outside the same bunch of characters from them main movie series. The other thing the show has been able to do is to bring together a range of directors who all share the same vision and are able to deliver some visuals that make this show one of the better ones of the past few years without going overboard on CGI, keeping the action character based, moving forward with each episode.

    In terms of casting the question probably was do we go for big names or have relative unknowns, the answer is more that later than the former. At the head of the show are genre old hats Stephen Moyer and Am Acker who play parents of the newly discovered mutants played by newcomers Natalie Alyn Lind and Percy Hynes White who are the audences entry into this world who are all as you would expect excellent in their roles, however as the quasi centre of the show they are sometimes forced into the storyline, I cannot help but feel that in the future they may be extra baggage that are not required, however the producers introduce flashbacks to make their roles more legacy and so will probably be required for the foreseeable future. The other experienced actors who do their jobs very well are Jamie Chung as Blink, Coby Bell as Jace Turner and Garret Dillahunt as Dr. Roderick Campbell, the later two are the villains, playing them very well. In terms of the newcomers my stand out is definitely Blair Redford as one of my favourite X-Men characters John Proudstar who here really shines whenever he appears onscreen especially in contrast to the rest of the newer actors, in particular Emma Dumont who seems to be playing her Polaris as a Jessica Jones-lite character but with little edge or originality – which is a missed opportunity for the show. 

    In terms of the show itself, what could have been a week-to-week adventure is expanded about halfway through with some very canny flashbacks as well as name dropping characters audiences will either know or will come to know. The series feels a bit slow and aimless in the first few episodes which may be because this was originally a very different idea with a pilot that was not picked up, this show was a late idea, but by the end of the first season there is a definite arc as well as the introduction of some very familiar characters which is a great way to start the second season which is airing right now. 

    I recommend this show very highly as a family drama first and an ‘X-Men’ spinoff second, which is exactly how it should be for any of these types of show, story should trump spectacle, in this case it does, give it a go.

    Episodes:

    eXposed:In Atlanta, Georgia, the mutant Clarice Fong escapes from prison with her teleporting abilities, and is rescued from police by members of a mutant underground that aims to protect persecuted mutants from the government. During this, Lorna Dane / Polaris is captured by the police, and is later asked by district attorneyReed Strucker to cooperate with him in exchange for a reduced sentence. Reed’s children, Lauren and Andy, go to their school dance that night, where Andy is attacked by bullies. 

    rX:Clarice falls unconscious from the effort of teleporting the group back to the underground’s hideout, losing control of her abilities. Portals begin to open to an unknown road, causing an accident that is brought to the attention of police. Caitlin, a nurse, offers to look for medication that may help Clarice, and races to a nearby hospital that still treats mutants with Eclipse, where they use an old injury to gain access to the medication. 

    eXodus:Reed, being tracked by Turner, meets up with a mutant that he knows is working with Eclipse, and he agrees to smuggle Reed to the underground, but Reed decides to not put the mutants in harm and returns to Turner. Clarice begins working with John Proudstar / Thunderbird to control her abilities, but does not have someone that she truly cares about that she can focus her emotions on

    eXit strategy:Two years ago, the underground helped several mutants escape from an SS “Relocation Center”, but Thunderbird’s best friend Gus / Pulse—who can short out electrical circuits and other mutants’ abilities—was believed to have been killed. Now, the underground plans to rescue Reed and Polaris from SS before they are delivered to a similar center, one that inmates do not return from. Eclipse gets information on the route they will be taken from the cartel he used to work for, now run by his former girlfriend Carmen Guerra. 

    boXed in:Thunderbird takes the Struckers back to the underground, where a mutant named Fade recognizes Reed as having been working with Turner; many of the underground’s members are uncomfortable with Reed joining them. In order to prove his loyalty, Reed suggests using himself as bait to lure away the SS agents. Thunderbird tasks Fade with helping Reed, and they are successful. Meanwhile, Caitlin, Lauren, and Andy are able to save the life of an injured mutant, Trader. Having earned the underground’s trust, the Struckers decide to stay and fight with them. Eclipse and Polaris attack an SS blockade and capture Turner. 

    got your siX:Clarice confronts Thunderbird about him not telling her what Dreamer did to her memories, and decides to leave the underground. The group plans to attack a Federal facility where Pulse was taken without Clarice’s help; Reed, Eclipse, and Andy go to break in and steal information on the mutants who are now working for SS. Thunderbird worries that these mutants could be the deciding factor in a war that the X-Men believed was coming (they put Thunderbird in charge of the underground before they disappeared). Reed becomes concerned with Andy’s abilities and how he enjoys using them to destroy things, and attempts to gain Andy’s trust as his father again. After stealing the information, the trio are followed by police into an SS ambush. 

    eXtreme measures:Guerra forces Eclipse to help her on another job, this time destroying a rival’s shipment of drugs; Polaris and Dreamer follow Eclipse after the former discovered he was lying about his whereabouts, and see him work with Guerra. Thunderbird tracks down Clarice, and offers to help her find the road that her portals were opening to when she was sick. They realize that the road leads to the home for mutants that she lived in as a child, but it is now derelict after SS agents stormed the building and killed its inhabitants. 

    threat of eXtinction:The underground rescue a group of refugees, but a telepath among them, Esme, reveals another of the mutants to be a Hound. The latter is taken hostage, and Esme is able to help read her mind; they learn that she was taken hostage by Trask Industries, and their work on her included addicting her to the drug Kick. Reed and Thunderbird visit Reed’s estranged father Otto, who used to work for Trask. Otto reveals that his father and aunt, Andreas and Andrea von Strucker, were the mutant terrorists Fenris. 

    outfoX: Reed tells his family about his history as a mutant, and about the von Struckers and their terrorist activities. He and Caitlin test Andy and Lauren to see if they could become as powerful as the twins; holding hands, the pair feel the power to destroy the entire building, and are only stopped by Reed separating them. Desperate to rescue her family from Trask, Esme uses her abilities to manipulate the others into agreeing with a plan of attack: Clarice, Dreamer, and the Struckers will take out a power plant supporting the Trask facility, which can then be attacked by her, Polaris, Eclipse, and Thunderbird. 

    eXploited: Polaris wants to immediately attack Sentinel Services, but Reed and Caitlin argue for a diplomatic solution that will not endanger their children, potentially reaching out to some of Reed’s old contacts about Trask and the Hound program. Esme talks to Reed and Caitlin in secret, and suggests that they go to Turner and hope that his better nature prevails. When Esme tells the other mutants what the couple intend to do, they prepare to attack. At Trask Industries, a heavily scarred Campbell forces Andy and Lauren to demonstrate their combined powers by killing Dreamer, and they are able to dent an apparently “indestructible” adamantium wall. After he is confronted by the Struckers, Turner plans to arrest them, but is convinced by his wife to do the right thing. Turner goes to Trask to transfer the mutants back to Sentinel Services. 

    3 X 1:The Frost sisters approach the underground for help in stopping the Hound program, though they are doing so to support their own agenda of rebuilding the Hellfire Club. The underground members refuse, while Reed and Caitlin decide to take their family to Mexico. They stop at another refugee base on the way, where they reunite with Wes. One of the sisters visits Andy, asking him to reconsider leaving. Another visits Polaris, and uses knowledge of her mysterious birth father—who once led the Hellfire Club—and her unborn baby to try manipulate her into assisting them. Turner and Campbell launch an attack on the Struckers’ location, using Hounds who can combine their abilities with technology developed from Lauren and Andy to start destroying the building and arrest mutants. Polaris, Clarice, Eclipse, and Thunderbird arrive to rescue them, but only the intervention of the sisters allows them to successfully escape. 

    eXtraction:Polaris, Eclipse, Thunderbird, and Clarice join the Frost sisters at a safe house where Esme explains that when the X-Men established the underground before their disappearance, their rival group the Brotherhood established the new Hellfire Club before their own disappearance. Campbell meets with the anti-mutant Senator Montez at the Humanity Today conference, where he talks about his advancements in the fight to eradicate the X-gene; Montez agrees to give political support to expanding the Hound program for use across the country. Meanwhile, SS agents search for more information on Otto’s research. Learning that they are going after Ellen, the Struckers go to her office and persuade her to go into hiding. Andy and Lauren disagree on how much force to use when holding off arriving SS agents.

    X-roads:Four years earlier, Polaris had been approached at a mental hospital by an attorney named Evangeline, who recruited her for the underground on the behalf of the X-Men. Now, Campbell and Montez set to fly to Washington. The Frost sisters convince Polaris to embrace her heritage and stop them. Turner tracks the Struckers with a new pair of Hounds to the underground’s headquarters, and lays siege to it. Reed leads a defense of the building with the few remaining fighters, while Caitlin oversees an evacuation through an escape tunnel. 

  • DVD review: “The Path: Season One” (2015)

    “The Path: Season One” (2015) 

    Television/Drama

    Ten Episodes

    Created by: Jessica Goldberg

    Featuring: Aaron Paul, Michelle Monaghan, Emma Greenwell, Rockmond Dunbar, Kyle Allen, Amy Forsyth, Sarah Jones, Hugh Dancy, Paul James

    The Path:“Those who ascend The Ladder of Enlightenment will live forever in The Garden.”

    This month sees the release of the first season of the television series “The Path” (2016-2018) which is based around the journey of a family that are based within religious cult of sorts based mostly in New York State. Based upon the first season the show attempts to explain the motivations as well as machinations of a smallish chapter within the cult, why someone would join, then after a period of time would remain. It also attempts to illustrate how the people within the cult view as well as treat those who are in normal life, who remain outside the cult. 

    “The Path” revolves mainly around Eddie Lane who lives in Upstate New York with his wife Sarah and their two children, Hawk and Summer. They are all members of the Meyerist Movement, which combines aspects of New Age philosophy, shamanism, Scientology, Christian mysticism and Utopianism with a few elements from the Shakers, Sufism, Tibetan Buddhism and Freemasonry ritual. Eddie returns from Peru, where he had undergone a spiritual retreat designed to advance him further up Meyerism’s spiritual ladder. Unbeknownst to his family, while in Peru, Eddie experienced a revelation, which causes him to question his faith in Meyerism. Meanwhile, Cal Roberts, a friend of Sarah’s and one of Meyerism’s top leaders, is looking to expand their influence and deal with the imminent death of their founder, Doctor Stephen Meyer.

    Of course there are been a myriad of television shows as well as movies about cults, some are dramas, thrillers, horrors and a variety of other genres that take a framework then placing it within the story that is chosen to be told. Many follow a fairly standard narrative that is fairly typical, in fact by now they could be considered cult tropes that after many real life cults have come to light there are elements even the casual observer should expect and recognise. 

    The cult that is under study here is of course a fictional one, it is called the Meyerist Movement, while that name is new the actions as well as the element’s that are done in its name are all too familiar. Creator Jessica Goldberg has wisely stayed away from modelling her created cult on any one in particular; it is set within a compound like many well-known cults namely the Branch Davidians, it incorporates machinery like the Scientologists and there is no one deity that is worshipped, instead it is a ‘ladder’ that one must climb with a cave in Peru bring their holy ground, like any other cult around it is decentralised but with a recognisable hierarchy like any Church based religion. That is one of the keys to this cult, it is recognisable as it is structured like any other religion with a head as well as smaller chiefs looking after their own fiefdoms, it relies on the herd policing each other with organised religious punishments that are advertised to enlighten and not to harm, of course we see these come into play throughout the first season.

    The reason that this show works at all is that it is episodic with storylines that one could find in any other show, it deals with black sheep, adolescence, betrayal, sex, lost love, power hungry politician types and almost everything else under the sun including political intrigue as well as a side story about the FBI getting involved in the investigation of the cult in New York. The problem with the show, like any that contain a framework that has to be acknowledged each show is that you cannot stray too far away from that conceit which can be a strength but because we know instinctively how these types of cults work there is little to be surprised about, even having the leader remain off-screen does not build that much tension, in fact it just made me quite impatient. 

    The series is effectively a three hander between the stars of the series, those being Aaron Paul, Michelle Monaghan and Hugh Dancy, who all have the experience to carry this show which has now been in production for three seasons, the last of which has just aired, bringing the entire series to an end. The three leads all play off each other in very convincing ways even though the plot that they are playing out is a little tired and dated. The problems come down to the dynamics and not the performances, there are three main characters so guess what there is a love triangle of sorts, not just that but they are all hiding parts of the story from ach other which is such a tired trope in 2018 that if this is what is keeping the tension going then you as a show runner really need to rethink the narrative. 

    The first season is well directed with some talented people, the standouts are Mike Cahill who has directed low budget movies that centre on outcasts as well as Roxann Dawson who was an actor then moved into directing and is now widely considered to be on the best working today. What they are both able to do is to cut through what each episode is amount and visually tell a story that not only makes sense but also pops onscreen with some great visuals. The other important element is the way the camera moves through each episode, keep an eye on that, it is especially noticeable in interior shots as well as the use of darkness, these are all elements that lend to the idea of secrets or the withholding of information, which I have stated I am not a big fan of in and of itself. 

    One of the better aspects of this show is that has gone for three seasons so if you are wanting to start a new show with the knowledge you will have time to spend with the story and characters then you could do a lot worse. The main issue is that in the era of peak television the competition that “The Path” faces is steep in that there are more original and inspiring shows out there, ten years ago that would not have been an issue but now it is something all show runners must face there is a glut of content that means the audience has the say over what is successful as well as what is not – this one could be better but it is worth a go for those interested. 

    Episodes:

    1. What the Fire Throws: The faith around which Eddie Lane has centered his life is shaken when, during a sacred ceremony in Peru involving ayahuasca, he sees his dead brother, who guides him to a hidden room where Meyerism’s founder Steve Meyer lies comatose in a hospital bed, the instructions for their salvation incomplete. As Meyerists are taught to believe that Steve “lives so deeply in Truth that Light literally surrounds him” and will eventually become one with the Light, the revelation that he is but mortal is intensely disturbing. 
    2. The Era of the Ladder: Sarah and Eddie begin the Infidelity Rehab Program but he won’t confess to an affair. He meets Alison, considering to pay lip service to Meyerism despite his lack of faith, but she angrily claims that the Meyerists killed her husband Jason, the community’s doctor, in Peru for trying to leave. Meyerist enforcers are following her and she believes they’re trying to kill her. 
    3. A Homecoming: Meyer has liver cancer; his tumour hasn’t responded to treatment. He’s got no will and no next of kin. Cal visits Meyer frequently with founding members Bill, Felicia and Peruvian shaman Silas. But he pretends to the membership that Steve is well and working, telling Sarah only that Meyer is “moving on” and the final rungs are about the succession of leadership. Miranda Franks, torn from her home and brought by force to the community — against protocol — is placed in “Realignment Lockdown”, but won’t confess to an affair with Eddie, receiving no pity from her only visitor, Sarah, and collapses in her cell.
    4. The Future: Miranda confides in Cal what really happened on Eddie’s retreat; he saw his brother, he went somewhere, returned weeping and saying “There is no Light”, and she embraced him out of concern; the shaman Silas then counseled him privately. Convincing her that she’s to blame for the misunderstanding, Cal removes her from the hospital. Still concerned of what Eddie may have learned in Peru, Cal offers to be his guide for the next level, 7R, which permits no secrets between them. 
    5. The Hole: Hawk’s relationship with Ashley comes out and Sarah is terrified that he might choose to leave Meyerism, “choosing to be ignorant” and unable to reunite with the family in The Garden. Hawk pretends to break up with Ashley but sneaks out to her at night. An angry John Ridge demands Cal return his wife and son from Peru; Cal is initially irate with Sarah for ignoring his orders but later defends her actions to Ridge.
    6. Breaking and Entering: Eddie joins Cal searching the motel room of Alison Kemp whose presence Eddie conceals; Alison later admits to taking $40k intended for Jason’s secret missions. Sarah confronts Cal about intimidating the widow, and Cal admits to Eddie that it was a mistake. Ashley’s family are evicted and Hawk convinces Sarah to shelter them. Ashley’s mother Meg explains what happened and the family interpret it through Meyerism, take them to an inspirational lecture from Cal, and get her a job. 
    7. Refugees: Police, media and protestors descend on the Meyerist community concerning the Honduran immigrants. Bill and Felicia work with the Upper Rung council for the surrender of the Hondurans, but Cal unilaterally calls for the entire membership to vote. Caught sheltering Alison, Eddie admits to Cal what he saw in Peru and Cal demands he undergo “The Walk”, a 250-mile pilgrimage that tests faith and endurance, warning that if he refuses, Cal will tell Sarah everything.
    8. The Shore: Cal buries Silas’s body in the woods, in a hole previously dug by Eddie as a devotional exercise. He then brings Sean back to the New York community to reunite with Mary. The standoff ends as the community is successfully declared a protected space, and they receive a sizeable spike in donations. Felicia shares her concerns of Cal’s recklessness and asks Sarah to be ready to take a bigger leadership role. Sarah finds a Pachamama idol Silas had left for her, of which she’d earlier dreamed. She begins to call Silas and leave messages for him. 
    9. A Room of One’s Own: Cal asks still-comatose Meyer to communicate any displeasure before Cal commits to the next phase of the Movement. He promises to try to channel Meyer’s ideas for the writing of the final rungs. Sarah meets Alison and trades Jason’s journal for the truth about Eddie, that they were not transgressing but that Eddie was questioning his faith. Mary’s promiscuity and drug use are exposed; Cal prompts Sean and Mary to recommit through marriage. Eddie and Hawk return and Sarah confronts her husband over 3 months of lying, feeling that he’s rejecting everything in her soul. She continues to leave messages for Silas. Gaines is given two weeks’ leave to clear his head; a co-worker shows him a pathology report showing Jason Kemp’s hands were badly burned. 
    10. The Miracle: Eddie refuses to sign forms labelling himself a denier, moving out to a motel. Sarah supports this decision. Alison seeks help, Jason’s journal describing strange visions and stating that he was going to climb the ladder “even if it killed” him. Cal claims the final Rungs change the existing policy, permitting forgiveness for repentant deniers. Sarah’s calls to Silas go unanswered; Felicia says Cal was at the community the night Silas went there. At the hospital Eddie prays for Gaines’s daughter Lucy, whose condition suddenly resolves before her scheduled surgery. 
  • DVD review: “Welcome the Stranger” (2018)

    “Welcome the Stranger” (2018)

    Drama/Thriller

    3-stars

    Running Time: 94 minutes

    Written & directed by: Justin Kelly

    Featuring: Abbey Lee, Caleb Landry Jones and Riley Keough

    Alice: “People lie by saying they are happy when they’re not. Not the other way around.”

    This month sees the release of a movie that barely made a ripple when released in international cinemas, which is completely understandable when viewed, it is a moody piece of film-making that really does not want to be understood in the slightest, it is a stream of consciousness that has been written and directed by the same person, Justin Kelly, who seems to have produced the movie he wanted, that is “Welcome the Stranger” (2018). I do not have a clue as to the genesis of this movie or how the cast was brought together which I am baffled at, as this entire production seems to be a stab at some kind of Lynchian homage that really does not come off at all. This is a real letdown as it seems to have some attractive qualities for a slow build thriller, with a small cast of three, one main location that is full of nooks to really build tension and a director who seems, at least from previous movies, to know what he is doing. However what actually happens is that the leads are cyphers that do not stand out in their characters, lifeless directing, a narrative that does hold together and a story that is so routine that when some of the fantastic elements are introduced they seem to be presented to take a viewers mind away from the story. If you are going to ‘do Lynch’ then you need to make sure you have an interesting narrative as well as actors that can pull off what your vision is, here we do not.

    Justin Kelly is the writer/director of “Welcome the Stranger” who has directed a few movies early in his career, this is his first take on something completely original which while I admire him for reaching he possibly does not have the experience to really build a fully realised fantasy that makes sense on its own terms. Even when straying from a classic narrative structure the film that is eventually produced shouldn’t be an exercise in vanity for both actors and director, it may seem like you are breaking rules or conventions but in the end the film you make could be a reflection of not only you but your talents as well. This may have worked much better if the actors were stronger or more experienced so they could inform the director how they should behave in a real environment, taking the queues from them then using that in the narrative. It even took David Lynch time to become the director he is, he made conventional films then moved into the abstract with people he trusted.

    “Welcome the Stranger” revolves around Alice who arrives at her estranged brother Ethan’s house in an attempt to reconcile, but bizarre visions, the return of his strange girlfriend, and Alice’s paranoia and suspicion force the siblings to cling to reality amidst mysterious circumstances.

    The two real leads of this movie are Abbey Lee and Caleb Landry Jones who do their best but struggle with what they are asked to do. Whether either of them have the actual talent to convince an audience of who they are is questionable to say the least. It should come as no surprise that Lee is a model who has appeared in a few movies but relies on her looks too much to really inform who she is onscreen which is a shame, it may have actually been more appropriate to cast Riley Keough in her role, as she has played fully formed character’s prior to this and is fascinating to watch onscreen as she feels dangerous which is what this role required. The most experienced actor in the cast is Jones who has made appearance in big budget movies as well as independent film who seems to know how he looks as well as presents himself onscreen, adjusting his performance as required which is a real strength as a young actor who is still learning as he goes.

    My main issue really with the film is that it seems like an overblown student film that attempts to be about ‘something’ but instead ends up really being quite disappointing which would not be an issue, if it were a student film, but it is not. That is not to say that there ae not moments of humour as well as questions that are asked of the main characters, which are for periods answered well, but nothing really sticks which is loss. Considering that a large part of the movie is set inside Kelly does get some nice shots and angles out of his environment, the period spent outside are a little dark as are the motives for the strange lights that appear each night – this could have been handled better as well to be honest.

    I have to admit that when the film began I was very interested in how this story was going to unfold especially with a brother and sister whose relationship has been strained, by what we really do not know. This could have been a drama that would hold interest by itself but then it takes a left turn, we are introduced to strange goings on at night with maybe a UFO, murder and a large hole in the ground which by the time the end comes all add up to very little. It is the left turn that is the killer here which lost my interest completely and by the time the forty five minute mark came up I was just waiting for it to come to an end – not the feeling I want in a movie.

    The big question is would I recommend this movie, the answer is probably not unless it was on a streaming service as part of a general subscription fee, possibly as some kind of background movie where you were doing something else as well. This is a prime example of a perfect movie not to be released on DVD but to go straight to a streaming service where you could even watch over a longer period of time.

    “Welcome the Stranger” is out now on DVD, alas not on a streaming service.

  • Trailer: “The Lego Movie 2”

    THE LEGO® MOVIE 2:

    The much-anticipated sequel to the critically acclaimed, global box office phenomenon that started it all, “The LEGO® Movie 2” reunites the heroes of Bricksburg in an all new action-packed adventure to save their beloved city. It’s been five years since everything was awesome and the citizens are facing a huge new threat: LEGO DUPLO® invaders from outer space, wrecking everything faster than they can rebuild. 

    TheLegoMove2_OfficialTrailer2_1080p

    The battle to defeat them and restore harmony to the LEGO® universe will take Emmet, Lucy, Batman and their friends to faraway, unexplored worlds, including a strange galaxy where everything is a musical. It will test their courage, creativity and Master Building skills, and reveal just how special they really are.

    THE LEGO® MOVIE 2 is directed by Mike Mitchell and stars Chris Pratt, Elizabeth Banks, Will Arnett, Nick Offerman, Alison Brie, Charlie Day, Tiffany Haddish, Stephanie Beatriz and Arturo Castro.

    THE LEGO® MOVIE 2 releases in New Zealand cinemas on April 11, 2019

  • 4K Blu-ray review: “Mission: Impossible – Fallout ” (2018)

    “Mission: Impossible – Fallout ” (2018)

    Thriller

    images

    Running Time: 147 minutes

    Written by: Christopher McQuarrie

    Directed by: Christopher McQuarrie

    Featuring:  Tom Cruise, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Michelle Monaghan, Alec Baldwin, Henry Cavill and Angela Bassett

    August Walker: “How many times has Hunt’s government betrayed him, disavowed him, cast him aside? How long before a man like that has had enough?”

    Critical Commentary:

    Say what you want about Tom Cruise especially as a public persona with his associations to Scientology as well as marriages that have come and gone, but there has rarely been a more popular as well as bigger movie star in all of Hollywood history. Sure there have been box office disappointments but even when his star was seemingly falling in the US it was picking up elsewhere in the world to carry his popularity, enabling him to make not only big budget movies but more modest fare as well, such as last years “American Made” (2017), which was an above average action/drama but also a modest hit with a great cast, including some fantastic production talent. The only real box office dud in recent memory was the musical “Rock of Ages” (2012) where he only had a minor role but showed no fear in his performance, which coincidentally is what he has become known for since “Mission: Impossible – Ghost Protocol” (2011) with its huge (mostly) non CGI stunts, with Cruise front and centre in those performances. Now against all odds when at one point this franchise seemed dead after a listless third entry we now have the sixth, arguably its biggest entry with almost everything supersized as well as a push towards the future with not only some familiar faces but new blood injected to keep things fresh, although with the sheer number of set pieces this never seems an issue.

    “Mission: Impossible – Fallout” (2018) as the sixth entry arrives twenty two years after the first installment revisited the East as a post cold war adaption of a television series best known for the continuous face swapping that occurred almost every episode to ensure the IMF always came out on top. The first movie had two major set pieces that have been not only parodied endlessly but served as a taster for what was to come. Until this new movie each installment had a different director that was supposed to offer something different for fans but it was not until Brad Bird directed the great “Mission: Impossible – Ghost Protocol” that it was clear the type of story, as well as feel that these movies should strive for. They became more cinematic, a lot more tongue in cheek, they took the stories global, introduced new actors to the world and of course the stunts got more practical as well as much bigger. In fact the entire franchise became more like a Chris Nolan movie than a James Bond movie, it is no wonder people would love Nolan to direct the Bond franchise.

    Returning writer/director Christopher McQuarrie shows onscreen that he has not only learnt from his previous mission but illustrates how to make a movie that isn’t a comic book movie, differentiating it as much as possible through the use of excellent actors as well as crafted set pieces, including a story that while not completely original does something that few blockbusters do, make the action a part of the narrative in doing so it slims the plot down to a double dip, that is a road movie of sorts as well as a conspiracy thriller set around the all too familiar ‘loose nukes’ storyline seen in many other spy thrillers. The fact that the plot of this movie may seem overly familiar is not necessarily a negative as it serves a purpose cutting through with ease to the audience about what is actually occurring onscreen. Where “Mission: Impossible – Fallout” is original is that separate from the action it introduces many new people to the franchise that could return or not, it also, while being based around one character, Ethan Hunt, does let many of its other characters shine in very specific ways as to really make this new movie original in a Summer full of reboots, sequels, prequels and remakes. McQuarrie has been given free reign like no other ‘Mission’ director, in that he after the success of his previous movie, as well as his close relationship with Cruise he has crafted the movie he wanted to produce with the highest stakes going, the future of the franchise is in his hands and to his credit he succeeds far higher than many other writer/directors have in the past with any equivalent franchise – this could be the franchises “Skyfall” (2012). As mentioned McQuarrie has become a fine director and this movie has many nods to previous installments as well as many other movies reflective of the genre that this movie apes in some great ways, using noise, silence as well as music to highlight moments that other directors may rely on tropes to get by.

    “Mission: Impossible – Fallout” is set two years after the capture of Solomon Lane (Sean Harris), the remains of his organization ‘The Syndicate’ have reformed into a terrorist group known as ‘The Apostles. At a safehouse in Belfast, Ethan Hunt (Tom Cruise) receives details of a mission to intercept the sale of three plutonium cores to members of the group. The mission takes him to Berlin where he meets up with Benji Dunn (Simon Pegg) and Luther Stickell (Ving Rhames), but the mission fails when Hunt makes the choice to save Luther’s life and the plutonium is taken by the Apostles. Erica Sloane (Angela Bassett), Director of the CIA, instructs Special Activities operative August Walker (Henry Cavill) to shadow Hunt as he attempts to retrieve the plutonium. So the movie moves at a brisk pace from here towards a goal that has a complicated plot which is as stated surrounded by amazing action set pieces.

    As with any ‘Mission’ movie the central figure is always Tom Cruise as not only Ethan Hunt but also as one of the uncredited writers and as main producer. These movies have always been Cruise’s baby with him taking centre stage at almost every turn, for the most part succeeding both critically as well as financially even when his personal stock has been low these movies have soared high. Everything about Cruise has already been written, he is dedicated to action movies like no other actor ever, maybe except Steve McQueen, but Cruise does so much more physically than he ever did. Not only that but Cruise is an underrated actor both dramatically as well as comedically what is great about the ‘Mission’ movies is that he gets to exercise those muscles throughout sometimes in the same scene. Lastly Cruise is not afraid to share the screen with anyone which has been a hallmark of his entire career, here he invites the entire cast to do their best work, and within the medium they all deliver some of their best work.

    Returning to the franchise are Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Michelle Monaghan and Alec Baldwin all playing their parts like old pros, they have all made appearances before so know their jobs with all shining in their own individual ways which compliment the main star. New to the fold are great character actor Angela Bassett who is always fantastic to see onscreen especially in high profile projects such as this and the huge success that was “Black Panther” (2018). Also newly arriving is the unofficial co-lead of the movie Henry Cavill, who has been searching for a successful high profile movie after the success of “Man of Steel” (2013), which it appears he has found after two disastrous DCEU movies as well as the underrated “The Man from U.N.C.L.E.” (2015), it appears playing this part may have stretched him showing that he has a viable career after playing Superman. Cavill is a physically gifted actor who here gets to not only play strong action scenes, but gets to really invent a character playing high drama, comedy as well as being duplicitous throughout his arc in a very good bordering on great action movie, one of the best of the year.

    The road movie narrative fits very well with this new movie, it starts in Belfast and doesn’t give up until the climax of the movie, like all great movies of its ilk, it is not so much the end goal that is important or even satisfying, it is the trip it takes to get there, unlike many movies this attempts to not only up the ante from previous movies but seeks to do that from scene to scene. The fact that this movie succeeds as a spectacle speaks highly of not only the director as well as the actors but of the stunt people, the cinematographer and everyone else involved in the production. Unlike many similar movies there is definitely something that will be lost not seeing this on the big screen, it is that much of a unique event, it has to be the best ‘Mission’ movie yet which speaks directly to how great it is, anything that the previous movie missed in terms of quality, story, narrative or action or more than made up for here, not only that it sets a firm direction for the future without offering any kind of bait for a sequel.

    This movie does so many things right with not only the stunts but the overall way this sequel fits into the overarching narrative started with “Mission: Impossible – Ghost Protocol” which hinted at some rival group of terrorists as well as the fate of Ethan’s wife. What is unusual to almost all blockbusters especially the patriarchal themed movies is this one does actually have a very real emotional core that has only increased with each subsequent sequel. “Mission: Impossible – Fallout” does what possibly only the middle two ‘Bourne’ sequels did, that is explain why character shifts occur as well as how the last three movies fit in to this universe which is now free to really ramp up to a new story yet leaning on the past in a very substantive way, I cannot wait for more of these movies.

    If you want a movie that is entertaining as well as action packed with moments of comedy then this is for you. It is that rare franchise sequel that is worth the price of entry; it begs to be watched multiple times, this movie is a winner on all levels and a great way to end the summer blockbuster season.

    Technical Commentary:

    Video

    The sixth installment mounts the biggest rescue mission yet on Ultra HD, outfitted with an exceptional HEVC H.265 encode that does a slightly better job than the Blu-ray. 

    Shot on a combination of traditional 35mm and 8K digital cameras, which was later mastered to a 4K digital intermediate, the freshly-minted transfer enjoys a notable uptick in overall resolution. The tiniest crease and stitch in the clothing is sharper, and every unique feature of the European architecture is a bit more distinct, exposing the most minute crack, crevice, and pockmark of the walls, pillars, and streets. Each individual hair, whisker and small fuzzballs on the clothes are plainly visible and very detailed while facial complexions often expose pores, wrinkles and the most negligible blemishes with lifelike textures. On a more interesting comparison, the diffusion-filter look of Rob Hardy’s stylized photography is not quite as prominent on UHD as it is on the Blu-ray. Of course, a few scenes, such as the nightclub party in Paris, still fall on the mildly softer side, but the deliberate look still maintains outstanding clarity and definition while also lightly bathed in natural film grain.

    Also, from beginning to end, the 2160p video saves the day with improved, more luminance contrast, supplying the action with radiant whites and an energetic glow that makes each stunt all the more spectacular and stunning. Compared to the Blu-ray, the car chase through the Parisian streets are vibrantly striking and eye-catching. Unfortunately, specular highlights are not really any more dramatic or intense, with a couple instances of very mild blooming from some light fixtures, likely due to the filmmakers’ creative intentions. But on the whole, the brightest areas are fairly tight with strong detailing while giving metallic surfaces a realistic shiny gleam. Interestingly, the cinematography doesn’t affect brightness levels like before. In fact, blacks are significantly richer and more luxurious with a velvety gloss in hairdos, a swarthy ebony polish in vehicles and silky, inky shadows that penetrate deep into the screen, providing appreciable dimensionality and a gorgeous cinematic appeal. In the Paris nightclub scene, the bathroom fight offers excellent demo-worthy material.

    Furthermore, Hardy’s creative cinematography also enjoys another unmistakable upgrade, as colors are observably bolder without also seeming overemphasized or excessive. The Dolby Vision HDR presentation delivers a sumptuous array of primaries, making the cerulean blue skies glow during the many daylight exteriors. There are appreciable differences in the ruby reds of blood, the crimson radiance of lights and the candy rose in some articles of clothing. Meanwhile, the greens of the surrounding foliage are brimming with life and a lovely splendidness. Although a bit more nuanced and subtler, secondary hues and softer pastels receive a welcomed, dazzling boost, showering sunset scenes with a lovely, picturesque assortment of orangey yellows, blushing pinks and deep lavenders. Flesh tones have a more natural, reddish appeal as well as, making this UHD version better than its HD SDR counterpart and the preferred way of watching the movie. 

    On a side note, the presentation comes with alternating aspect ratios, switching between 2.39:1 and 1.90:1 IMAX sizes for those action sequences taking place in the sky or through mountains. Although faithful to the filmmakers’ intentions, CIH enthusiasts will want to make the proper adjustments. Personally, I found the 2.20:1 aspect ratio a good comprise for enjoying the movie during these scenes.

    Audio

    Joining this stressfully nerve-wracking excursion to stop the greatest suffering is this awesome, edge-of-your-seat, reference-quality Dolby Atmos soundtrack. 

    Right from the opening moments, the front soundstage feels broad and expansive, displaying lots of warmth and fidelity in Lorne Balfe’s understated score. Meanwhile, various activity in the background spreads across all three channels with spotless fluidity and into the top heights, establishing a highly-engaging half-dome environ that amazingly stays consistent from beginning to end. Rich, clarity detailing within the mid-range allows for the echo of gunshots and ricochet of bullets to be heard with stunning precision, and the crunch of metal during action sequences is distinctly heard while vocals are lucid and well-prioritized over the loudest segments. A powerful and occasionally authoritative low-end provides gunfire with a tight, potent snap, collusions with a room-shaking rumble, engines with a realistic growl and explosions with an aggressively resounding boom. There are a couple instances when bass even digs into the ultra-low depths, dropping well below 20Hz  with some serious decibels, adding an incredible sense of presence to the action and music (bass chart).

    Rear activity is also at a near constant, as various ambient noises during quieter, dialogue-driven moments litter the room and convincingly encircle the listening area. Whether it’s the bustling city traffic of Paris, the chatter of people in the Kashmir village and medical camp or voices echoing while characters argue underground, the surrounds are continuously employed with a variety of effects discretely moving from one channel to the next, creating an enveloping 360° environment that keeps viewers glued to their seats. Action scenes can be quite aggressive as an assortment of atmospherics smoothly journey into the ceiling channels, expanding the visuals to a grander scale. The engines of planes and the propeller blades of helicopters fill the empty space above, and the ringing of police sirens reverberate in every direction. Chase sequences, unsurprisingly, are the best moments with helicopters, cars, and motorcycles flawlessly panning overhead to generate an immersive hemispheric soundfield, making it one of the best high-resolution tracks of the year. 

    Special Features

    • Behind the Fallout (HD, 54 min): A seven-part documentary breaking down various action sequences, the dangerous stunts performed and other areas of the production as they relate and affect the central hero, Ethan Hunt, while also providing some thoughts on the other supporting characters and their relationship with Hunt.
      • Light the Fuse
      • Top of the World
      • The Big Swing: Deleted Scene Breakdown
      • Rendezvous in Paris
      • The Fall
      • The Hunt Is On
      • Cliffside Clash
    • Foot Chase Musical Breakdown (HD, 5 min): Composer Balfe is given a few minutes to share his thoughts behind composing the music to a pivotal scene in the film.
    • The Ultimate Mission (HD, 3 min): A much-too brief discussion on the insane practical stunts and visual effects with tons of BTS footage as evidence.
    • Storyboards (HD): Four pieces that play separately, focused on specific action sequences.
      • Paris
      • What If?
      • London
      • Helicopter
    • Deleted Scenes Montage (HD, 4 min): With optional commentary from director McQuarrrie and editor Hamilton, this is a short collection of scenes that didn’t make the final cut.
    • Trailer (HD, 3 min)
    • Audio Commentaries: The first in a trio of commentaries features director Christopher McQuarrie and star Tom Cruise in a friendly chat about working together while also providing some insight into the visuals as they occur on screen and sharing some amusing anecdotes from the production. The second discussion has McQuarrie talking with editor Eddie Hamilton on the technical aspects, mostly related to constructing suspenseful action sequences which some cinephiles will find particularly interesting and insightful. The third and final track allows composer Lorne Balfe to share his thoughts on creating the score and particular musical motifs, as well as his thought process behind certain sequences. 
  • Blu-ray/DVD review: “The Equalizer 2” (2018)

    “The Equalizer 2” (2018)

    Drama/Thriller

    3-stars

    Running Time: 129 minutes

    Written by: Richard Wenk

    Directed by: Antoine Fuqua

    Featuring: Denzel Washington, Pedro Pascal, Ashton Sanders, Melissa Leo, and Bill Pullman

    Robert McCall: “They killed my friend. So I’m going to kill each and every one of them. And the only disappointment is that I only get to do it once.”

    After four years star Denzel Washington reteams with director Antoine Fuqua for the sequel to the box office as well as mostly critical hit “The Equalizer” (2014) that itself was a reimagining of a 1980s television show to the big screen. It was also an origin story of sorts that, as most origin stories are, very easy to set up as well as pay off which is what made it so appealing for audiences, that and star Denzel Washington. It seems at this stage in his career Denzel Washington is that rare breed of actor who can pretty much do anything, he has accomplished so much that even at his age he makes an excellent action star because he makes his characters believable, rooted in something real so that we can all see his point of view, this is no more true than his characterisation of Robert McCall as a man who sees injustice, feeling the deep need to want to right it where he can, either through diplomacy or as a last resort, violence. At this stage of his career Washington can see the importance of balancing films he wants to make for himself, even directing wise, then keeping himself relevant with movies like “The Equalizer 2” (2018) which have something to say on a personal level, it also helps that he can open a movie in the US reliably so there is little worry about getting them greenlit. Not only did the “The Equalizer 2” have a great opening weekend, it outdid the original which is something rare for a straight genre movie especially when similarly themed ones bomb outright. This is the most unusual of action movies with a cast that are all older but aged similarly dealing with issues that most can relate to as well as having a combination of thrills, action and violence, this movie succeeds at accomplishing what it set out to do, being an able bodied sequel that ups the ante, possibly leading to a third sometime in the future.

    Returning to this sequel are original writer Richard Wenk and director Antoine Fuqua who both know what they want to accomplish, executing like the experienced duo they have become in terms of genre movie making. This is Fuqua’s fourth time directing Washington, it shows with how he frames and works with him within the narrative, which is something that Washington obviously enjoys. Fuqua is definitely known for directing action movies as well as being the person that directed Washington to his second Oscar for “Training Day” (2001). In terms of this story Wenk has actually constructed a very tight plot with a narrative that is conventional, it has a strong A story with a nice subplot involving McCall’s neighbourhood in particular a young artist that is struggling with his own life that eventually joins up to the main plot. The fact is that there is almost too much plot with another minor subplot involving an elderly man and the trouble he is having with some art that links back to World War II – this is an element that could have been ejected but it does add to how McCall operates within a number of different issues that he assists people with. This is a mostly successful movie that operates on a number of levels that works because Washington, Wenk and Fuqua know exactly what they are doing and how to execute it for a large audience.

    The movie once again centres on Robert McCall who learns that one of his longtime friends, Susan Plummer, has been murdered. McCall decides to return to his old ways and seek out, find and punish the perpetrators.

    As with any action movie that revolves around one main character it is the casting of that role that is most important and here we have one of the greatest and talented leading men of all time in Denzel Washington who by now knows exactly what movie he is and how to deliver to the camera for maximum effect. The partnership that Washington has formed with Fuqua echoes the same relationships he has had with Spike Lee, Ridley Scott, Tony Scott and to a lessor extent Norman Jewison, with all of them serving very different purposes, it does appear to me though that this latest one has been the most fun, considering they were able to make the Western “The Magnificent Seven” (2015) with such a large budget in a genre many consider to be dead. Along for the ride in “The Equalizer 2” and returning are Bill Pullman and Melissa Leo who in their short amount of screen time really underpin the emotional beats that drive the main plot of the movie. The main addition to the cast is the always-excellent Pedro Pascal who in a different world would be a leading man but has continually taken supporting roles in major movies to really take the pressure of himself but always standing out in any cast. Here he plays American as well as a duplicitous role that he carries of with ease much like he has throughout his career. It is no easy task matching Washington in terms of telent but Pascal does here by knowing exactly how to judge his performance so that he is almost Washington’s equal onscreen with only a few false notes.

    Whilst the first movie was definitely set in small location as well as setting up McCall’s morality this new instalment makes the story bigger both in terms of scale, location, number of characters and then stakes set up for all involved. By delving into McCall’s past it also makes the movie even more personal that the first, which is strength as it means the audience, is almost immediately on his side. This movie also seems to be setting up McCall as an older spy type not unlike any other similar genre character without it is undeniable that he is a Ronin archetype a masterless Samurai who wants to be left alone but is unable to just stand by while injustice is carried out especially when it is all around him. It can be said that id he really wanted a quiet life or to be left alone he could do this by isolating himself which he never does, not in either movie so it could be said he does bring much of the issues within both movies on himself.

    “The Equalizer 2” is a rare thing in today’s cinematic landscape a truly successful R-Rated action movie that is loaded with A-list talent both in front of as well as behind the camera that works extremely well on many levels. If you are looking for an action movie with a difference then this is for you especially if you are a fan of Denzel Washington and at this stage I believe everyone is, he has built a character from the ground up and he is only getting better with age, I cannot wait foe the next instalment.

  • Final Trailer: “Aquaman” (2018)

    Final Trailer: “Aquaman” (2018)

    From Warner Bros. Pictures and director James Wan comes an action-packed adventure that spans the vast, visually breathtaking underwater world of the seven seas, “Aquaman,” starring Jason Momoa in the title role. The film reveals the origin story of half-human, half-Atlantean Arthur Curry and takes him on the journey of his lifetime—one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be…a king.

    Intl_Trlr_F5_Txtd_1080p_23.98_AQAMN_1080p_no_slate_MOV-rev-1

    AQUAMAN is directed by James Wan and stars Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, Nicole Kidman, Ludi Lin and Temuera Morrison.

    AQUAMAN releases in New Zealand cinemas on December 26, 2018.

  • Television review: “Doctor Who – Kerblam!” (Episode 7, Season 11)

    Television review: “Doctor Who – Kerblam!”” (Episode 7, Season 11)

    Television/Sci-Fi

    images

    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole, Lee Mack, Julie Hesmondhalgh and Mandip Gill

    Judy Maddox:“Welcome to Kerblam!” 

    This weeks episode “Kerblam!” marks the voyage into the last half of the eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. This is the first episode where the entire cast is united in what is the main point of the show, traveling around the Universe as well as assisting people in need which is exactly what this weeks episode is all about.

    As should be the case by now the entire cast seems to be gelling together very well with all knowing their characters as well as each others so that interactions with each other as well as guest stars appears seamless. I believe that one of the strengths that Chris Chibnall has is the ability to cast characters extremely well which is not only bourn out by the main cast but by all the excellent guest stars we have seen over the first seven episodes. 

    My only real gripe with this new season is that there has been a lack of episodes with some real meaning as well as grit, something to really hold on to as well as maybe offering some kind of antagonist that lends the show some weight giving audiences a real taste of the past with an eye on the present. Audiences both old and new in this age of peak viewing need a reason to hang around week after week, the only way to do that is to make them return to see what happens next in the plot as well as, hopefully, an overarching narrative. Now while I am not a fan of a heavy serialization in my television I think a page out of the Tennant era is required, that is a light  narrative that loosely connects a season together with some revelations made in the final few episodes – this is something that is not happening as of yet, the clock is running down far too quickly for that to occur now. 

    With all that said this week’s episode feels a little artificial with the main concept relying on an intergalactic version of Amazon, with a mystery plot wrapped up what it is like being a worker bee in a largely machine run environment. This entire story seems like lazy storytelling indeed mixing something that seems like ideas were very dry this week mixed with a Tom Baker era story, I will let you work out which, oh ok it is “Doctor Who and the robots of death” (1977) which was far superior to this knock off. Not only that I cannot think of a more obvious company to base a story on, even with all the dressing up and off world settings I can not think of a more dull as well as less relevant setting, ten years ago it may have seemed edgy, now it seems a little looking backward not forward. 

    This weeks episode then is another monster of the week that really is entirely forgettable, which is a missed opportunity especially with the direction that this story could have gone. This is also one of the first episodes this season to recognize two other Doctors, the fez of Matt Smith as well as the direct reference to Tennant era with the story “The Unicorn and the Wasp” (2008) which do seem a little obvious in terms of the execution of those mentions, I would have thought that some care as well as subtly could be used to place this Doctor amongst the others, this could be a direct result of new writers who are not used to the medium or the Universe of ‘Doctor Who’, my hope is that next season some of these issues will be addressed. 

    This episode could have gone a variety of ways but ends up possibly being just a run of the mill, kind of monster of the week, not only that the ideas behind it are a little clumsy as well as obvious which is a huge missed opportunity, my only hope is that future episodes are a bit more thought out as well as make some sense in terms of the overall plot, as this and a few others seem to be jammed into a box, forced to work even though they really do not especially when put into context of sci-fi plots that have gone before.

    I watch “Doctor Who” on a 4K television and the step up in effects, especially the CGI is noticeable, especially this week with some good looking robots as well some CGI matte paintings that give the environments some feel of space as well as other worldly.

    All in all though I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come. My only hope is that the writers are able to be a bit more original, follow through on some of the early promise as well as making the show relevant, not forgetting that it is a sci-fi show first that operates on the fact that the central character is a Timelord who is not only one step ahead of her friends but also knows instinctively what is going on around her, think back to not only classic Who but also the very best of new Who as well. 

    “Doctor Who – Kerblam!”

    Written: Pete McTighe

    Directed: Jennifer Perrott

    “Delivery for the Doctor!” A mysterious message arrives in a package addressed to the Doctor, leading her, Graham, Yaz and Ryan to investigate the warehouse moon orbiting Kandoka, and the home of the galaxy’s largest retailer: Kerblam!

  • 4K Blu-ray review: “Ant-Man and the Wasp” (2018)

    “Ant-Man and the Wasp” (2018)

    Action

    images

    Running Time: 105 minutes

    Written by: Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, Gabriel Ferrari

    Directed by: Peyton Reed

    Featuring: Paul Rudd,  Evangeline Lilly,  Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, Michelle Pfeiffer, Laurence Fishburne, and Michael Douglas

    Scott Lang: “I do some dumb things, and the people I love the most – they pay the price.”

    Critical Commentary:

    It may be difficult to believe but the release this month of “Ant-Man and the Wasp” (2018) is the third MCU movie to arrive in theatres in 2018 after the culture reflecting “Black Panther” (2018) that at the time broke box office records, followed by the critical and box office behemoth “Avengers: Infinity War” (2018). This is also a sequel to the modestly budgeted (by MCU standards) “Ant-Man” (2016) that had been on the back burner for years, meaning it had a troubled production with original writer/director Edgar Wright being fired and replaced by an unproven director Peyton Reid. All signs had that first movie possibly being the biggest disappointment in the MCU franchise since the lamentable misfire that was “The Incredible Hulk” (2008). However don’t let it be said that producer Kevin Feige does not learn from mistakes or doesn’t have the experience to deal with a troubled production, turning “Ant-Man” into a hit, launching Paul Rudd as well as Evangeline Lilly into the Marvel Universe, making the aforementioned one of the scene stealers of “Captain America: Civil War” (2016) with that movie surviving here as a kind of prequel to this new movie.

    As with many of the MCU movies “Ant-Man and the Wasp” merges a few genres into one, making a movie that serves many purposes as well as fleshing out characters in a three dimensional way through drama, action and in particular comedy. What made the original as well as this new entry different than other MCU movies is the addition of Scott Lang’s family as real people who he has to try mending his relationship with, as well as attempt to be some kind of honest, caring and present father to his daughter. These themes are echoed with Hank Pym, his daughter, Hope as well as his maybe not missing wife Janet. In these “Ant-Man” movies it is family that is the key to unlocking the importance as well as success of these stories, which serves to underline the standalone nature, which is becoming more common within the MCU movies.

    One of the important aspects of these movies that cannot be underestimated is director Peyton Reed who previous to “Ant-Man” would not have been on anyone’s list of people  that would be a competent director of any MCU movie, let alone a niche property like “Ant-Man”. It required something special if it were to be a success especially after the exiting of fan favourite Edgar Wright. What Reed has been able to do in both movies is to harness a large cast that are committed to telling a story about family whether that be familial, unrelated or disparate in a way not explored in the MCU before or explored to the depths this has. This can be seen to be why Reed was recruited as well as remained for the sequel, he has been able to explore these themes without losing the comedy, drama or thrills perhaps in the way James Gunn missed the mark a little in his own ‘Guardians’ sequel. Reed has also seen fit to make the villain’s of the piece seem relatable as well as improving on that aspect from the first outing.

    “Ant-Man and the Wasp” is et two years after the events of “Captain America: Civil War”, and before the events of “Avengers: Infinity War”, Scott Lang, now under house arrest after the events of ‘Civil War’, tries to balance his home life as a father with his responsibilities as Ant-Man. When Hope van Dyne and Hank Pym present him with a new mission to bring to light secrets from their past, Lang teams up with Van Dyne as the new Wasp.

    If Reed is one of the most important factors behind the camera then it is Paul Rudd in front of the camera that is equally as important with a wit, charm and ability to play action that is rarely seen in these kinds of movies with the dramatic flair to be able to pull the story all together seemingly at ease with his new role onscreen, the hero. What works for Rudd in this role is the same thing that potentially holds him back in others, that is his roguish natural wit that shines through almost everywhere but with such an unusual hero in Ant-Man works extremely well, especially in contrast to his other co-stars, in particular Evangeline Lilly as Hope Van Dyne. Lilly who in many ways is his superior in almost every way, was always going to get an upgraded part from the first movie, she had great chemistry with all the cast, was an imposing presence, so she now becomes a titular hero, the first female hero to be named in a main title, she shows no sign of slowing down, embracing her character to be one of the best aspects of this movie. As with all the fantastic returning cast members including Michael Peña, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, and Michael Douglas who are all just as great as they were in the first movie, they welcome a handful of new actors who all perform specific roles. So we have, Walton Goggins, Hannah John-Kamen, Randall Park, Michelle Pfeiffer and Laurence Fishburne who have all almost been leads in their own movies, here they are playing the driving force behind the plot of this new movie, not only that they are all exceptionally great actors who lend this new movie some air of quality as well as legitimacy in terms of making the ‘Ant-Man’ franchise one to be respected.

    “Ant-Man and the Wasp” is most definitely a stand-alone movie, much like many of the recent MCU movies, which is great for all audiences, especially those people that do not follow the wider story, which was reflected in the latest ‘Avengers’ movie. This instalment also answers the question regarding where the character of Ant-Man was when Thanos rid half the Universe of resource sucking life. What is refreshing to see is the delineation between both heroes, their abilities as well as their roles within the story, not only that this might be the first super hero movie where the female character is actually more powerful and cooler than the male, which given the actors talents they play with extremely well, which I hope follows through in the upcoming ‘Avengers’ sequel. The other important aspect of this movie is the reintroduction of the quantum/micro/multiverse, which was also touched upon in the “Doctor Strange” (2016) a few years ago. This side of the MCU is set to become important as it is a maguffin that not only is explored here but also might be important for future movies especially if there is another instalment of this franchise.

    Finally, the Ant-Man character was always going to be a tough sell, not only because of who he is but his troubled comic book history especially when he was inhabited by Henry Pym. It was a masterstroke to let Scott Lang be the ‘first’ Ant-Man as this meant we did not have to go through some of the hoops that Pym went through, skipping the ‘Yellowjacket’ persona, logically going straight to ‘Giant-Man’ who I was a big fan of. It was fun seeing that identity in ‘Civil War’ and I have to say I welcome his return here and in the future. The other element of this new movie is to retcon the idea of a Giant-Man with the introduction of Bill Foster who was an instrumental part of the Marvel comics, hopefully now he will be a part of the MCU on some level as a scientist as well as possible hero or villain.

    What is refreshing is the lack of plot holes or characters making stupid decisions just to drive the plot forward which is something I am sick of, I am looking at you “Jurassic World: Fallen Kingdom” (2018) and “Solo: A Star Wars Story” (2018) where there were plot holes big enough to drive a Giant-Man through as well paper thin characterisations that audiences were supposed to buy into just because they were onscreen. With this new movie at least the story as well as characters are all coherent three dimensional as well as believable inhabiting the world they do. This is a solid MCU movie that never rises to some of the greatest but it is a smaller story being an antidote to some of the massively budgeted disappointments that we have seen recently. It is a nice stopgap between ‘Avengers’ movies without being too sweet.

    Technical Commentary:

    Video:

    “Ant-Man and the Wasp” arrives on 4K Ultra HD Blu-ray with a fantastic and often stunning HEVC H.265 encode, offering plenty of welcomed improvements over the Blu-ray. Shot on a variety of digital cameras capable of up to 8K resolution but later mastered to a 2K digital intermediate, the freshly-minted transfer delivers an appreciable uptick in definition, showing lots of razor-sharp details in nearly every scene. The only issue is several instances of the sharpest edges and lines fluctuating just a tad in a few areas.

    The 4K presentation also offers improved contrast, giving the screen a notable pop and energy that terrifically complements the story’s comedic elements. The picture displays resplendent, pitch-perfect whites without the slightest blooming, allowing for superb visibility into the far distance, making out the smallest puff and line in the clouds. Specular highlights are not quite as dramatic, but metallic surfaces come with a realistic glimmer and polish, such as our heroes’ masks or the chrome trimming of cars, while the most intensely glowing areas of the quantum realm show a lustrous, radiant shine without ruining the finest details. Likewise, brightness levels show inkier, silkier blacks throughout and outstanding gradational differences between the various shades, allowing viewers to plainly make out the most minute detail and line in either Ant-Man or Wasp’s costumes. While maintaining excellent clarity within darkest corners, shadows are rich and velvety, penetrating deep into the screen and providing the 2.39:1 image with an appreciable three-dimensional quality and a lovely cinematic appeal.

    Next to “Thor: Ragnarok” (2017) and “Black Panther” (2018), “Ant-Man and the Wasp” is arguably the most colorful entry in the MCU, and this HDR10 video only adds to the sentiment. Dante Spinotti’s cinematography displays a wide array of dazzling, vividly striking primaries that feel more accurate and truer to life.

    Audio:

    For the UHD, “Ant-Man and the Wasp” has an excellent and largely enjoyable Dolby Atmos soundtrack that should please home theater enthusiasts. Although the track is frankly not the thrilling, ear-bleeding demo-worthy sort we would have liked, the object-based mix provides a slightly more enriching aural experience than its 7.1 DTS-HD MA counterpart found on the Blu-ray.

    Special Features:

    • Director’s Intro (HD, 1 min): Peyton Reed briefly shares his thoughts and aspirations for the Ant-Man series, its characters, especially Wasp, and connecting it to the rest of the MCU. 
    • Back in the Ant Suit (HD, 6 min): Cast & crew interviews praising Paul Rudd’s performance and the general light-hearted humor and camaraderie on set.
    • A Suit of Her Own (HD, 5 min): A discussion on Evangeline Lilly as the highly-trained Hope Van Dyne donning the Wasp suit with a look at the costume and a couple action sequences.
    • Subatomic Super Heroes (HD, 4 min): Much-too brief piece spotlighting Michelle Pfeiffer and Michael Douglas as Janet van Dyne and Hank Pym with praises for their roles.
    • Quantum Perspective: The VFX and Production Design (HD, 7 min): Featurette on the shooting locations, Pinewood Studios and the mix of practical effects with CG visuals.
    • Gag Reel and Outtakes (HD): Serving as a hub for some bloopers (2 min), Stan Lee working on his cameo (1 min) and some outtakes of Tim Heidecker (1 min).
    • Deleted Scenes (HD, 2 min): A pair of scenes with optional director’s commentary.
      • Worlds Upon Worlds
      • Sonny’s on the Trail


  • 4K Blu-ray review: “Justice League” (2017)

    “Justice League” (2017)

    Action/Fantasy

    stars-2-5

    Running Time: 120 minutes

    Written by: Chris Terrio and Joss Whedon

    Directed by:  Zack Snyder

    Featuring: Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J. K. Simmons and Ciarán Hinds

    Diana Prince: “People said the Age of Heroes would never come again.“

    Bruce Wayne: “It has to. We don’t have any more time!“

    Critical Commentary:

    Has there ever been any more problems in modern movie history than the struggles that Warner Brothers has had with the DCEU attempting to get a comic book universe off the ground that will rival the mighty marvel comic book universe? It really isn’t a faor comparison, Marvel are into their seventeenth movie with this years “Thor: Ragnarok”(2017), while this weeks “Justice League”(2017) is just the fifth – with at least four of the previous being major disappointments – of course their only real bright spot is that they have continued to make money. But audiences as well as critics have not held back with their own opinions on how dreadful they really are.

    Now comes the second team movie to be under the DCEU banner after the horrible “Suicide Squad”(2016) that seeks to unite at least three of the biggest superheroes ever, along with three definite B characters to form the titular ‘Justice League’. This was kind of teased in the derided “Batman v Superman: Dawn of Justice”(2016). Of course even before “Justice League “is released it has had its share of issues, massive amounts of reshoots, changing directors for at least a quarter of the movie, mandated running time of less than two hours as well as heightening the humor, decreasing the darkness, finally not forgetting to increase the amount of Wonder Woman in the movie. This really does not bode well, especially as many of these issues and changes faced “Suicide Squad”, however “Justice League “has turned out much better – for the most part. There is a large  caveat, that is this is still not a coherent movie, not only that I had pretty much forgotten about it as soon as I left the theatre.

    The bare bones plot takes place months after the events of “Batman v Superman: Dawn of Justice”, inspired by Superman’s sacrifice for humanity, Bruce Wayne and Diana Prince unite a team consisting of Barry Allen, Arthur Curry, and Victor Stone to face the catastrophic threat of Steppenwolf and his army of Para demons, who are on the hunt for three Mother Boxes on Earth, while the world reflects on Superman’s death.

    The good news is that this movie for the most part holds together, (that is being kind)  serving as a kind of origin movie as well as a look to the future as to what to expect in the coming years. It also serves to introduce Cyborg, Flash and Aquaman to an audience so as to show what those individuals offer. This is accomplished through the recruitment that Batman as well as Wonder Woman attempt to accomplish so as to give the audience someone they do know making the introductions for us. This works quite well overall, but I could not help feel that out of all this that Aquaman is the one best served (although not the deepest character) which could have something to do with his own movie arriving next year – while Flash and Cyborg are given the scraps off the table, as it were.

    Other than the bringing together of the team, there is what feels like a necessary call back to “Batman v Superman: Dawn of Justice” in the fact that the main villain here is Steppenwolf and his army of Parademons who made appearances in that movie (actually Steppenwolf only appears in the directors cut which to me is odd to say the least) – does this work? For me the answer is no, but antagonists in all comic book movies do seem to be an issue – there are a few exceptions but it does not necessarily mean that this makes for a negative experience – origin movies tend to be forgiven more, which this for all intents and purposes is.

    The trailers for this movie have been out for months so we have all known what to expect casting wise, there is Gal Gadot and Ben Affleck as Wonder Woman and Batman who have appeared in their own features so we know what to expect from them. In this movie Affleck has taken a step forward, Gadot a step back. However this is the first time we are spending an extended amount of time with Jason Momoa (Aquaman), Ezra Miller (Flash) and Ray Fisher (Cyborg). While Momoa and Miller are known genre actors and know how to play to the cameras in big films, it was Fisher for me who is an unknown element, he acquits himself well with the role as Cyborg, but the issue for me is that this just seems like an Iron Man rip-off with the exception that his amour is bonded to his skin, which for me makes a hollow hero – maybe in time I will grow to like this character, but for now he seems a little redundant. The supporting cast is rounded out with highly experienced character actors that we have seen in previous movies, the likes of Connie Neilsen as Queen Hippolyta, Amy Adams as Lois Lane, Diane Lane as MAARRTTHHAAA Kent (no jokes please), Jeremy Irons as Alfred, Jesse Eisenberg as Lex, who all do their jobs well, although they seem to be there as identifiers of earlier movies. There is now the arrival of new supporting characters (assuming we are supposed to see more of them in the next standalone movies) such as Amber Heard as Mera, Billy Crudup as Henry Allen, J.K. Simmons as Commissioner Gordon and Joe Morton as Dr. Silas Stone. Now while these actors are all great I cannot help think that they were appearing as some kind of preview to possible standalone movies, whether they eventuate or not – Marvel got bashed for this. See “Iron Man 2”(2010) for the reaction to their version of this.

    Famously the original director, Zack Snyder left the movie late in the game so screenwriter Joss Whedon was given the job of completing the shooting as well as being solely in charge of reshoots. For many movies this might be an issue, however because the story is so simple it meant that it was relatively easy to marry the two directors work making a story that is what the creatives wanted – to me it seemed fairly standard with little in the way of surprise or real stakes. As with most DCEU movies they seem to be overcooked with too many chefs as well as creators who seem to lack any vision for what they are doing. Snyder has proved again and again an overreliance on tropes as well as storylines that existed in the 1980s with the inability to be able to movie forward modernizing these wonderful characters. With Snyder gone (apparently never to return thank goodness) Whedon has picked up the mantle adding his signature dialogue and humor as well as a shorter tighter movie that is brisk with its narrative – no pondering heroes here or heavy handed dialogue, just a lot more fun in general – thank goodness because really the plot makes little sense or bears no relation to any real situations you can think of. The other screenwriter who is credited is Chris Terrio who believe it or not received an Oscar for “Argo” (2012) but revealed the kind of messy uneditable writer he actually is with “Batman v Superman: Dawn of Justice”. Of course when you have someone like Whedon who has always been about a plot with character moments you can see his fingerprints here – Terrio like his friend Affleck to have been cut out of any production decisions since their first disaster was released.

    As you would expect the movie looks like a Snyder movie, mostly, although there are cracks in the seams with some fairly ordinary CGI, again an over reliance on these which makes for a rather blurry action movie. This is a shame but comes from late reshoots as well as a general feeling that the people behind the scenes were all making different movies – something it seems all the DCEU movies have in common. What we end up watching is an OK movie that rates probably third (maybe) behind this years “Wonder Woman” and “Man of Steel”(2009) – although they had plenty of issues as well – it is also a small reset which is welcome, showing a way forward. I have to admit that after this movie I am hoping that next years “Aquaman” (2018) will improve and should be a treat in particular because it will not involve Terrio, Snyder but will involve Geoff Johns.

    The big question to ask is – should you see “Justice League “in cinemas? The answer is I guess, especially if you have made the trip for previous movies. “Justice League” is a sign that even though Warner Brothers will have you believe that they make these movies in a vacuum, they most certainly in reality do not. They have looking at feedback as well as reviews and are making course corrections on the fly – which can be good as in “Wonder Woman” or can be disastrous as in “Suicide Squad”. In the case of this movie it has worked out somewhere in between but it is a sign of things to come, so take the chance and enjoy a rare thing, a pretty good Joss Whedon inspired super hero movie.

    Technical Commentary:

    Video:

    “Justice League” arrives on 4K Ultra HD with a reference-quality HEVC H.265 encode with Dolby Vision HDR.

    The 1.85:1 image is full of true-to-life blacks and rich shadows that penetrate deep into the screen, providing the 1.85:1 image with an excellent three-dimensional depth while also giving the action an attractive neo-noir feel to it. Amid the gloominess, brilliantly clean whites radiate through the darkness, beaming with such an intensity that should serve excellence demo-material for testing a display’s peak luminance. Viewers can make out the most minute detail and feature in the darkest, bleakest corners of the frame while the street lights enthusiastically glow.

    Compared to other DC movies, “Justice League” is one of the more colorful installments to the franchise, with “Wonder Woman” (2017) being the clear winner. And on UHD, our favorite superheroes unite with an astounding array of rapturous colors washing over the entire screen with a pulsating energy.

    Shot on a combination of traditional 35mm film and digital cameras, which was later mastered to a 2K digital intermediate, the freshly-minted transfer also displays razor-sharp definition and resolution from beginning to end. 

    Audio:

    “Justice League” arrives with a demo-worthy Dolby Atmos soundtrack that puts viewers right in the middle of the action. The surrounds are continuously layered with random sounds of electronic equipment in Bruce Wayne’s underwater lair or the ambient, bustling activity of the city, maintaining a terrific 360° soundfield during quieter, more dialogue-driven moments. Fantastically sustaining an immersive hemispheric soundscape for most of the runtime, debris whizzes overhead and rains down in every direction, voices echo into every speaker effectively with an excellent sense of realism, and Danny Elfman’s score surrounds the listener.

    Elfman’s music spreads across the screen and into the front heights for a highly-engaging half-dome wall of sound while the action flawlessly and convincingly pans across the three channels. 

    Special Features:

    • Scene Studies (HD, 16 min): A closer look at four key action sequences that can be watched separately: Revisiting the Amazons, Wonder Woman’s Rescue, Heroes Park, The Tunnel Battle
    • Road to Justice (HD, 14 min): An overview on the fifty-year history of the Justice League with interviews of comic creators talking about the characters and the team’s transition from comics and animation to film.
    • Heart of Justice (HD, 12 min): The cast shares their thoughts on Batman, Wonder Woman and Superman.
    • Justice League: The New Heroes (HD, 12 min): A few minutes on The Flash, Aquaman and Cyborg.
    • Suit Up: The Look of the League (HD, 10 min): Costume designer Michael Wilkinson shares his creative process and the work that went into the unique style of each character’s costume.
    • Technology of the Justice League (HD, 8 min): Self-explanatory piece on the advanced tech of the team with thoughts on the unique design of the costumes and their application.
    • Steppenwolf the Conqueror (HD, 3 min): Brief history on the character with actor Ciarán Hinds.
    • The Return of Superman (HD, 2 min): Essentially, a pair of deleted scenes showing what amounts to Snyder’s version of Superman’s return where the Man of Steel makes an appearance in his black suit.
  • DVD review: “The Gateway” (2018)

    “The Gateway” (2018)

    Sci-Fi/Thriller

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    Running Time: 90 minutes

    Written by: John V. Soto &  Michael White

    Directed by: John V. Soto

    Featuring: Jacqueline McKenzie, Myles Pollard, Hayley McElhinney

    Jane Chandler: “Remember how your Dad died?”

    This week sees the release of a throwback of sorts a direct to DVD sci-fi movie, “The Gateway” (2018) which by today’s standards is a bit of a dud but twenty years ago may have held the interest longer as well as actually being a novelty. However what really lets this movie down is the complete unoriginality of the plot which can be seen in almost any genre television series of the past few decades, parallel universes can be considered de rigueur for pretty much any genre show so if you plan to make a movie with this as its central premise it has better be very good or have some kind of unique hook to it, unfortunately “The Gateway” does not so it is an awkward as well as not a very satisfying viewing. When making low budget movies, of which this most definitely is, the standard genre to attempt is horror because of the many devices used it is easier to hide the fact that money is short, it is also easier to give characters depth while also moving the plot forward, especially if there are no twists or very little actual originality. If you look at the oeuvre of working directors there will always be at least one horror movie, maybe more as it is a great way to gain experience as well as sell these genre movies to streaming services or even on DVD.

    However for some reason director John V. Soto has decided to create this sci-fi movie where it is obvious from the beginning that the budget is low and there is no hiding the fact especially with the locations, the actors and the script, which are not fantastic. In terms of the look of the movie it is shot in close up with very little wide shots so as to disguise, clumsily I might add, the fact that there were few usable locations as well as no money for CGI to hide the different dimensions which for a movie like this is one of the more basic requirements. The other aspect is the technology which look’s like it is from the 1990s not approaching 2020; not only that but the ay it works as well as the laboratory look like this is a student movie. In fact that it is what the entire movie reeks of, a student movie that has been out together with the assistance of other students.

    Director and writer John V. Soto has a history in genre movies with his most notable success being the horror “Needles” (2010) that featured a couple of up and coming stars but since that has made fairly routine Australian thrillers which has led to this movie, more or less which again is not positive. It is a very odd thing but it feels like the director has been transported from the 1990s to now as the way in which these types of sci-fi stories are being told is very different, also as I have mentioned this story would normally have ended up on a television show not in a movie, there is very little to hold the idea of this story together which is a real shame.

    “The Gateway” is based around a particle physicist grieving over the loss of her husband in a car crash travels to a parallel world to find him again, with dire consequences for her family. The plot is exactly that as well as thin as paper, not much work has gone into his beyond the initial idea of the story.

    The lead actor is Jacqueline McKenzie who has the most experience in terns of high profile projects and frankly this movie is beneath her talents, she holds this together through her skill but there is little else to recommend as the performances by the rest of the cast is mediocre at best which means there is a gap in the believability of the entire movie but then that is just another nail in the coffin of “The Gateway”.

    “The Gateway” if it was any kind of good movie would have ended up on Netflix as content is king and if a movie is any good but does not make the leap to a cinema you had better believe that the streaming giant would buy it for their international service, but this is not really good enough for them so we wind up with it on DVD which means it will probably not be seen. In saying tat it may end up on some service and if it does that is when I would watch this movie, but it does not need to be a part of any collection.

     

     

     

  • Official Trailer – “POKÉMON Detective Pikachu” (2019)

    Official Trailer – “POKÉMON Detective Pikachu” (2019)

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    The world of Pokémon comes to life! The first-ever live-action Pokémon adventure, “POKÉMON Detective Pikachu” stars Ryan Reynolds as Pikachu, the iconic face of the global Pokémon phenomenon—one of the world’s most popular, multi-generation entertainment properties and the most successful media franchise of all time. Fans everywhere can now experience Pikachu on the big screen as never before, as Detective Pikachu, a Pokémon like no other. The film also showcases a wide array of beloved Pokémon characters, each with its own unique abilities and personality.

    The story begins when ace private eye Harry Goodman goes mysteriously missing, prompting his 21-year-old son Tim to find out what happened. Aiding in the investigation is Harry’s former Pokémon partner, Detective Pikachu: a hilariously wise-cracking, adorable super-sleuth who is a puzzlement even to himself. Finding that they are uniquely equipped to communicate with one another, Tim and Pikachu join forces on a thrilling adventure to unravel the tangled mystery. Chasing clues together through the neon-lit streets of Ryme City—a sprawling, modern metropolis where humans and Pokémon live side by side in a hyper-realistic live-action world—they encounter a diverse cast of Pokémon characters and uncover a shocking plot that could destroy this peaceful co-existence and threaten the whole Pokémon universe.

    POKÉMON DETECTIVE PIKACHU is directed by Rob Letterman and also stars Justice Smith as Tim; Kathryn Newton as Lucy, a junior reporter following her first big story; and Oscar nominee Ken Watanabe as Lt. Yoshida.

    POKÉMON DETECTIVE PIKACHU releases in New Zealand on May 9, 2019.

  • Teaser Trailer – “Ugly Dolls” (2019)

    Teaser Trailer – “Ugly Dolls” (2019)

    Unconventionality rules in UGLYDOLLS, the new animated family adventure based on the beloved toy brand. In the adorably different town of Uglyville, the free-spirited Moxy and her UglyDolls friends confront what it means to be different, struggle with their desire to be loved, and ultimately discover that you don’t have to be perfect to be amazing because who you truly are is what matters most.

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    UGLYDOLLS is directed by Kelly Asbury and stars Kelly Clarkson, Janelle Monáe, Wanda Sykes, Emma Roberts, Gabriel Iglesias, Nick Jonas, Blake Shelton, Wang Leehom and Pitbull.

    UGLYDOLLS releases in New Zealand on 4 July, 2019.

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  • Television review: “Doctor Who – Demons of the Punjab” (Episode 6, Season 11)

    Television review: “Doctor Who – Demons of the Punjab” (Episode 6, Season 11)

    Television/Sci-Fi

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    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    Graham O’Brien: “I am never, ever, getting spit from an ox ever again no matter how much you need it!”

    Ryan Sinclair: “The ox took a bit of a shine to you.”

    This weeks episode “Demons of the Punjab” marks the voyage into the last half of the eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. While, as I have stated before, this is the biggest change to the series since it was returned to air in 2005 there does seem to be some critics who want the series to return to some earlier incarnation, I am almost sure this is based around gender, although there has not been a loud outcry, I believe the gender bias has been coded.

    The strength of not only this season but all of the entire series rests with one element, the person playing ‘The Doctor’, how well they do it, their originally and their general acceptance by the audience. After five episodes I believe that Jodie Whittaker was an excellent choice, I hope she stays on for a few years, as to me she grasps what the role is, how to play it and how to interact with all those around her. The other two elements are the regular companions that accompany ‘The Doctor’ as well as the producers that feed the stories through each week, who decide how the narrative of each episode operates and how they may feed into some overarching narrative.

    What is different from previous seasons especially as the show moved from Christopher Eccleston to each subsequent actor these overarching narratives got more and more complex to the point that it was difficult to have a stand alone episode, but when they did occur they were all normally better than the episodes that contributed to season long narratives and plots. What is has been lacking with this new season were episodes with some real meaning as well as grit, something to really hold on to as well as maybe offering some kind of antagonist that lends the show some weight giving audiences a real taste of the past with an eye on the present.

    With all that said this week’s episode tackles the very serious issue of the partition of India with the Doctor and her friends right in the middle while acknowledging one of the new travel mates Yasmin directly as well as her family and the stresses that were placed on people at the time, all the while battling some alien interlopers which once again are not as interesting as the main story itself. What I would have liked to have seen would have been the jettisoning of the aliens all together, they really added nothing to the plot, not only that they served little purpose at all, just muddying the plot as well as not mattering to the narrative either, they seem like a late addition indeed.

    As far as I am aware this is the first episode to ever be set in the sub continent which is a huge shift in the telling of “Doctor Who” stories as well as acknowledging the changed face of Britain, questioning who are “Doctor Who” fans, the cultural significance of what a television show is in 2018, the importance of genre television in reflecting the attitudes and actions in terms of what is taking place in our current climate and why it is important to change not only show runners but entire casts to push boundaries as well as risking life long fans.

    This weeks episode then is another monster of the week that really is entirely forgettable, which is a missed opportunity especially with the creatures that have been designed, they seem like leftovers of other costumes as well as their motives being not only forgettable but in the end not really of any consequence at all, what was important is the central story which is the beginning of two separate superpowers who never were comfortable with each other. It also speaks to the ending of the dominance of the English Empire, the inevitability of a decisions being made by a third party to not only end many relationships but start the world on a course that would have long lasting effects on people not born at the time. We also witness events on a family that have profound ramifications for Yasmin’s Grandmother who has kept a secret her entire life but as with all secrets it does end up being revealed but not in the way one might think, although this is “Doctor Who” so nothing is ever really normal.

    It does make sense that in 2018 “Doctor Who” would be a politically charged show as what has become apparent over the past few years is that we as people have some serious differences of opinion and while this seems to divide people, creating fear and pushing this fear into out politics there is one thing that is missed by many, but is heard within this weeks episode, we have more in common that we have differences. With the partitioning this was no way to know the true ramifications, while this may have been based on religious differences this episode proves that people can be united above differences no matter how important. It also addresses the idea of change and how violent that can be when people feel they have been ignored or taken advantage of, which of course was how a large section of the India felt, it also speaks to sacrifice and what that can mean to all people, families and friends alike.

    This episode could have gone a variety of ways but ends up possibly being the best of the season so far, mainly for me anyway it is because it is such an anti-Trump story that is made all the more poignant because of the closing moments, it is also vehemently anti-Brexit in case you missed it. As I have said genre shows are the best for reflecting society as it is and could this have been more in tune after the US mid term elections which not only illustrated how people feel about Trump but the place minorities as well as women hold in society with a record number of both elected to office. All this and not forgetting the caravan that is approaching the US border, which shows people want to live and seek refuge in the US which only deepens the kind of people that can make up a society which is exactly what Yasmin’s Grandmother brings to the UK as well the family that was the outcome of that – sometimes long term thinking is required not short term policies that hinder the growth of a society.

    I watch “Doctor Who” on a 4K television and the step up in effects, especially the CGI is noticeable, especially this week with some CGI spiders of varying sizes all looking very good, not how some effects have looked previously which is a welcome relief as time and money has been invested to make them look as good as possible. This episode would not have been filmed in India so it was with great relief that this was covered up well with close up shots as well as some digital painting expertly done in the backgrounds.

    All in all though I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come. My only hope is that this episode should be embraced by genre fans as it offers a message of hope as well as tolerance for all people, my only hope is that there will be enough confidence to jettison aliens when they are not necessary.

    “Doctor Who – Demons of the Punjab”

    Written: Vinay Patel

    Directed: Jamie Childs

    India, 1947. The Doctor and her friends arrive in the Punjab, as the country is being torn apart. While Yaz attempts to discover her grandmother’s hidden history, the Doctor discovers demons haunting the land. Who are they and what do they want?

  • Streaming review: “Impulse – Season One” (2018)

    “Impulse – Season One” (2018)

    Sci-Fi/Action/Drama

    images

    Episodes: 10 episodes

    Developed by: Jeffrey Lieber based on ‘Impulse’ by Steven Gould

    Featuring: Maddie Hasson, Sarah Desjardins, Enuka Okuma, Craig Arnold, Tanner Stine, Keegan-Michael Key, Missi Pyle

    Clay Boone: “What’s your deal? Like, why are you always alone?”

    Henrietta ‘Henry’ Coles: “I like being alone.”

    Clay Boone: “No one likes being alone.”

    Who would have thought that the first two episodic series from YouTube would have been not good, but actually great, arriving hot on the heels of their first success, “Cobra Kai” (2018 – present) comes the quasi spinoff/sequel to the sci-fi movie “Jumper” (2008), based on the same material, but that earlier effort was much weaker, with a lead actor who was not as talented as he needed to be to lead such a high concept movie. Now ten years later Doug Liman, the director of that movie, now producer of this new show, “Impulse” (2018) as well as director of the pilot episode, has put things right as well as delivering something that is not only intriguing but is a reflection of its times in a way that makes the show not only relevant but a must watch, that seems to have been made for a variety of audiences. This is a ‘metoo’ show if ever there was one which could be seen as risky in an adolescent sci-fi series.

    “Impulse” follows 16-year-old Henrietta, AKA Henry, who discovers she has the ability to teleport. The first time she realizes this, she is in a truck with her high school’s Golden Boy, who tries to rape her. She has a seizure and teleports, in the course of which she inadvertently crushes him, leaving him a paraplegic. The show goes on to explore Henry’s need to reconcile what her assaulter tried to do with the consequence, and her feelings about discovering she can teleport with her feelings about the assault.

    Following on from those elemets is the fact that this show is built almost entirely around women, almost the entire main narrative is from a womans point of view, Henry the main character, Cleo her mother, Jenna and many other characters who are all searching for their places in a town that is not welcoming to them at all, even the police officer who is looking deeper into the assault (although she doesn’t know it) is a woman from New York who has had some rough dealings there. This is unique for a genre show especially one that follows on from a movie based around a male character who was one dimensional – having women at the centre immediately raises the stakes even without super powers. We actually see women interacting with each other in very emotional as well as real ways that even by todays standards is a bit of revelation, there are no men to save the day, it is up to them, like real life.

    This is a show that is a sci-fi show at heart, about people that can teleport anywhere they can imagine, however like all great genre shows it is about more than what appears on the surface, in this case it is about a blended family, the town they are living in, the people that they interact with, growing up through adolescence and most importantly it revolves around a sexual assault that leaves both parties involved in very different places, as well as dealing with it in extremely different ways. To say that this is set firmly in a post Trumpian world is an understatement, there is no doubt that the sexual assault that takes place in episode one by a boy seems to be legitimised by some higher power, his father is not the greatest role model but he is not a rapist, entitled yes, crooked maybe but there is no evidence he is a rapist. The ongoing effect that Henry has to face knowing that her attacker is still present, that her mother and her mothers partner have to treat the rapist’s father with respect is something that rings true for many victims, as is the shame and blaming that goes on, this of course is complicated by the fact that she has to learn about her new power which for all its benefits leaves her as helpless as the assault itself, very smart show running.

    There are of course other elements to the show that flesh out the world in which Henry exists, one of these is a faceless organisation that is hunting teleporters, we witness the lengths they will go to in their efforts as well as the price another teleporter is willing to pay so that he is not captured. This is the ‘B’ plot that will we know collide with the ‘A’ plot in some way which will propel us into season two. There are many mysteries in Henry’s life which she wants to confront along with her Mother, of course these all come to light after he assault as well as the coincidental revelation of her power.

    The show itself is led by Maddie Hasson as Henry who has to play an extremely complex character who is more than just her genre representation, as she needs to be like any adolescent, tough, vulnerable, enquiring, funny, scared and brave all over the course of one very complicated season. Hasson will not be familiar to many but she does an outstanding job, reminding us that there are so many talented people; they just need room to shine. Hasson is ably supported by veteran character actor Missi Pyle who plays her mother who has not had a great crack at her own life, she finds herself the mother of two girls who are both pulling in very different directions, Pyle knows exactly what to do and judging by her performance so does everyone else, she is fantastic. Rounding out the trio of central character’s is Sarah Desjardins who plays the daughter of Pyles love interset, who like Hasson has not been seen widely but here plays someone who is a little lost especially when her ‘sister’ reveals what is happening with her, so she must adjust what she knows as well as still grieving for her mother who is now dead. The two, for me, stand out male actors are Veteran character actor and bad guy of the piece is Callum Keith Rennie who is a hunter but as with many protagonist is himself hiding a secret. Lastly there is Daniel Maslany as Townes a boy at school who is on the spectrum and has insights into what is happening with Henry in terms of her abilities which is a welcome aspect of the as well as some comedy relief just at the right times.

    “Impulse” is a very good genre show that really goes beyond the flash of “Jumper” as well as a painting as close to something real as any other show on television at the moment. This is a show that offers insight into what it is like to be an adolescent in 2018 first, what it is like to be a girl who is put upon for no other reason than her gender as well as a very good sci-fi inspired trip that is more interested in building character as well as plot so that once the flash and bang has worn off we as the audience are still left with real people to hang future seasons on which is something many genre shows miss. There are real surprises to be had with each episode as well as some very moments for all the characters, I am looking forward to the second season, YouTube have dine an outstanding job with this show, I look forward to more of their offerings in the future.

    Episodes:

    1. Pilot: When Cleo’s boyfriend, Thomas, decides to sell Henry’s car, Henry enlists the help of high school basketball star, Clay Boone, to steal it back. But when Henry experiences inexplicable seizures, things quickly escalate beyond her control.
    2. State of Mind: After a visit with a neurologist, Henry hopes her new meds will fix everything. Meanwhile, Bill Boone attempts to identify his son Clay’s attacker.
    3. Treading Water: Rattled by her newfound power, Henry tests her ability with the help of Thomas’s daughter, Jenna Hope, and fellow outsider, Townes Linderman.
    4. Vita/Mors: After finding herself in an unknown place, Henry seeks out Jenna and Townes in search of some answers.
    5. The Eagle and the Bee: Left with no one’s support, Henry returns to the unknown place only to discover a startling connection to her past.
    6. In Memoriam: While Henry returns to Reston with someone from her past, Clay faces some harsh truths about his new reality.
    7. He Said, She Said: After Henry and Clay have a fight, Cleo tries to make amends by inviting the Boones over for dinner. But the evening takes a devastating turn.
    8. Awakenings: As Cleo fights for her daughter’s well being, Henry battles her own inner demons.
    9. They Know Not What They Do:As Henry sets out to find her mother, Cleo navigates an unwanted showdown between Bill Boone and his business associates.
    10. New Beginnings: After a heart-to-heart with Cleo, Henry faces a life-altering decision: leave Reston for a fresh start, or stay with the Hope family and confront her enemies.

  • DVD review: “Land of the Giants” (1968-1970)

    “Land of the Giants” (1968-1970)

    Sci-Fi/Action/Drama

    3-stars

    Episodes: 51 episodes

    Created by: Irwin Allen

    Featuring: Gary Conway,Don Matheson,  Kurt Kasznar,Don Marshall, Stefan Arngrim, Deanna Lund, Heather Young

    Capt. Steve Burton: “Let’s go!”

    Dan Erickson: “Where?”

    Capt. Steve Burton: “To the park on the edge of the city. Fitzhugh and the others have hit Fort Knox. They’ve spotted some giants with cameras.”

    Mark Wilson: “Lenses!”

    Capt. Steve Burton: “Yep, lenses… to start the solar batteries. Come on.”

    “Land of the Giants” (1968-1970) was set fifteen years in the then future year 1983, the series tells the tale of the crew and passengers of a sub-orbital transport ship named Spindrift. In the pilot episode, the Spindrift is en route from Los Angeles to London, on an ultra fast sub-orbital flight. Just beyond Earth’s boundary with space, the Spindriftencounters a magnetic space storm, and is dragged through a space warp to a mysterious planet where everything is twelve times larger than on Earth, whose inhabitants the Earthlings nickname “the Giants.” The Spindrift crash-lands, and the damage renders it inoperable.

    This week sees the release of an updated DVD set of the now classic but short lived “Land of the Giants” (1968-1970) while not as well remembered today as “Lost in Space” (1965-1968) or “Voyage to the Bottom of the Sea” (1964-1968), “Land of the Giants” is an entertaining show that has all of the characteristics that made Irwin Allen productions so popular. It has large scale problems, better than average special effects, fantastic story elements and is basically a lot of fun. What worked well in those previous shows probably would have worked in this one had it not been for a little film that was released  just as those previous shows were ending and this one was beginning, that being “2001: A Space Odyssey” (1968).

    That aside, one of the reasons that this series works so well are the special effects. They did an excellent job at making the actors appear six inches tall. Placing the camera on the floor and filming at unusual angles matched with some good editing gave the feel that the crew really was menaced by giants. They also used a lot of matte shots and double exposures to have giants appear in the same frame as little people, and made sure that the props the little people had matched the same items when giants were using them. Even today its impressive how well they were able to get the different scales to mesh almost seamlessly.

    Like all of Irwin Allen’s TV shows, this one starts off really strong and goes downhill as the seasons progress. The first 12 episodes were filmed in 1967 as a midseason replacement. They weren’t needed by the network, so the debut was pushed back from January of ’68 to September of that year. These first twelve shows were easily the best of the lot. They include, along with the excellent origin story The Crash, the great episode Ghost Town.

    As the first season progresses the show loses some of its luster, but they are all fun in one way or another. It is in the second season that things really start to go downhill. The budget was considerably less for the second set of shows and Heather Young (Betty) became pregnant and is missing from several shows (and only puts in brief appearances in others) but that doesn’t explain some of the bad scripts. While there were still some very solid shows, including Doomsday where a doctor plans to blow up the giant city and The Clones which is one of the best episodes of the series, the overall quality declines.

    In terms of the environment the show was set in very little is known about the home planet of the Giants. This is partially because the Spindrift crew very seldom leave the area where their spaceship crashes. No name is ever established for the mysterious planet, but the inhabitants seem to know of Earth, Venus and Mars, referring to them by name in one episode. Exactly where the planet is located is also never made clear. In the episode “On a Clear Night You Can See Earth,” Captain Steve Burton (Gary Conway) claims to have seen Earth through a set of infrared goggles invented by the giants, implying that the two planets are near enough to see one from the other. The only established method by which Earth people may reach the giants’ planet is high-altitude flight, passing through what one giant calls a “dimension lock”.

    Although various episodes establish that at least six other flights have landed on the planet, no episode confirms anyone ever returning to Earth. One continent, or hemisphere, is dominated by an authoritarian government which tolerates full freedoms within a capitalist system, but it does not tolerate any effort to effect political change. Exactly what the political situation is on other continents is not known, although at least one overseas land has a despotic ruler. The Air Traffic Control tells those who venture out to sea that they should turn back, that nothing beyond that sea has been explored nor is there current contact; whether this is an official government line or the truth is not known.

    Culturally, the Giant society closely resembles the contemporary United States of 1968. The Earth people find themselves able to cope, and their efforts to get around are facilitated by the ubiquity of large drains leading directly from interior rooms to the pavement, in an outside wall of most buildings. The Giant government has offered a reward for the capture of the small Earth people.

    In spite of the authoritarianism, there are several dissident movements at work that either help other dissenters (such as the Earth people) or are actively working to unseat the ruling party. The government has established the SID, Special Investigations Department, to deal with assorted dissidents but it also takes the lead in dealing with the Earth people. The Giant technology mostly resembles mid-20th century Earth, but inconsistently: significantly more advanced in some episodes and slightly behind in others.

    The little people’s objectives are: (1) survival, by obtaining food and avoiding capture by the Giants or attacks from animals; and (2) repair of their spacecraft, so they can attempt to return to Earth. They do not achieve the second objective, as the primary systems of the craft are severely damaged. The secondary systems are insufficient to enable them to achieve the sub-orbital flight required. They are unable to use Giant technology, as it is bulky and less advanced.

    They are aided in the first goal, and at least somewhat hindered in the second, by the leadership of Captain Burton. He behaves as a leader, and as protector to the passengers and crew, and his leadership has rescued them from some difficulties. But Burton also tries to keep the Giants from ever reaching Earth. In several episodes, Burton puts keeping the Giants away from Earth above the need to get his people home. At the end of those episodes, he destroys devices that would get the Spindrift back to Earth but which would probably enable the Giants to journey there too.

    The show had no proper conclusion about the humans’ attempts to return to Earth, and the final episode was a universal tale that could have taken place anytime in the second season.

    Episodes:

    Season One:

    1. The Crash: On June 12, 1983, sub-orbital passenger flight 612 (a.k.a. Spindrift), on its way from Los Angeles to London, encounters a bizarre storm and is forced to make a crash landing. Those aboard – the crew: pilot Capt. Steve Burton (Gary Conway), co-pilot Dan Erickson (Don Marshall), stewardess Betty Hamilton (Heather Young), and passengers: engineer Mark Wilson (Don Matheson), pampered city girl and jet-setter Valerie Scott (Deanna Lund), bank robber (disguised as Naval Commander) Alexander B. Fitzhugh (Kurt Kasznar), orphan boy Barry Lockridge (Stefan Arngrim) and his dog Chipper – find themselves in a mysterious land dominated by giants.
    2. Ghost Town: Barry is zapped by a force field and knocked unconscious. When the others search for him, they discover an abandoned town built to human scale, but soon learn it is an elaborate model created by an old man named Akman. The man wants the little people to stay and live in his miniature village, but they are tormented by his sadistic granddaughter, who attempts to kill them after they get her into trouble.
    3. Framed:Steve and Fitzhugh attempt to steal a lens from a camera they see set down by a photographer, but then witness the man murder his photo subject – a young woman who resisted his advances. A drunken hobo enters the park and passes out on a bench, giving the killer the opportunity to plant evidence and make it look like the bum committed the crime. Steve snaps a picture of the set up, but he is then presented with the problem of somehow getting the picture developed and given to the police.
    4. Underground: The little people witness the hand over of an envelope between two men, but the recipient is shot by police and the letter confiscated. Soon Steve receives a radio call from someone who claims to be a pilot of another Earth ship. Suspicious of the call, Steve decides to check it out, but a curious Fitzhugh and Valerie follow him. All three are captured by the man who made the letter drop, who claims to be part of an underground political movement. He forces Steve and Fitzhugh to sneak the letter out of the police station and holds Valerie hostage until they comply.
    5. Terror-Go-Round: Barry and Fitzhugh are captured by a gypsy boy named Pepi, who hands them to his uncle Carlos, a carnival owner, who plans to sell them to a circus. Steve leads an attempt to free the two captives by stealing the spark plugs from Carlos’s truck, but events lead to everyone else being captured as well. Carlos then tortures Mark to force Steve into handing over the stolen plugs, but Steve instead tries to reason with Pepi into freeing his friends.
    6. The Flight Plan: The Earthlings find a man their size named Joe who is being chased by giants, but Steve protests against bringing the stranger to their camp. Joe decides to leave, but is captured by the giants and Steve along with him. The two work together to escape from a cage, but Steve feels it was too easy and suspects Joe is working with the giants. To prove his loyalty, Joe claims to remember where the giants keep fuel that could power the Spindrift. The others mobilize a plan to get it, but Steve remains suspicious.
    7. Manhunt: Steve, Mark and Fitzhugh watch as a giant convict is pursued by policemen. As the man seeks a hiding place, he stumbles upon the Spindrift, and once the coast is clear runs off, with the ship tucked under his arm. With Dan, Betty, Valerie and Barry still on board, the other three can only watch in horror as the convict falls into quicksand and takes the Spindrift down with him.
    8. The Trap: Mark finds a giant alarm clock and plans to use the radium from the face plate to power the Spindrift’s reactor. While he dismantles the timepiece, the area is invaded by giant scientists who set up microphones sensitive enough to detect even the minute sounds the little people make. When a scientist finds Betty and Valerie and takes them prisoner, the others come up with a plan to rescue the women and disable the scientist’s equipment.
    9. The Creed: Barry begins to suffer severe abdominal pains and the others learn he has appendicitis and requires surgery. Steve decides to conduct the operation himself, but he needs medical supplies from the giants’ hospital. After sneaking into one, they are discovered by a surgeon, Dr Brulle, who kindly offers to help them – in accordance with his Hippocratic Oath to assist those in need. The doctor however, is spied upon by a greedy janitor, who phones the authorities in hopes of receiving a reward.
    10. Double-Cross: Fitzhugh is knocked unconscious and captured by two giant thieves who take him back to their hideout. Barry keeps an eye on the criminals, who plan to take advantage of Fitzhugh’s small size in their next job, stealing a priceless ruby. When the thieves go to bed, Barry gets to Fitzhugh, but finds the man has lost his memory and believes he works with the giants. Fitzhugh then forces Barry to help in the jewel heist, as the boy can fit inside the museum door’s keyhole and open the lock from the inside.
    11. The Weird World: The Earthlings find a miniaturized tape recorder that leads to a crazed human astronaut named Major Kagen, who thinks they are spies for the giants. After they convince Kagen they are on his side, he informs them that his spaceship landed intact but was taken by the giants to a research center. The Earthlings set out to break into the center and find the ship, in the hope it will be their ticket home.
    12. The Golden Cage: Mark finds a beautiful human woman trapped inside a jar and becomes obsessed with saving her, but Steve feels she is an obvious trap set by the giants. Mark frees her anyway and learns her name is Marna – the daughter of a former colleague whose spaceship disappeared 15 years earlier. Marna takes Mark to see her miniaturized home, and tries to convince him to live with her and the giants who have cared for her since childhood. Mark however, rejects the idea of living like a lab rat in a doll’s house, and leaves Marna heartbroken. Elsewhere, struggling with hunger, Fitzhugh tries to bag a giant turkey.
    13. The Lost Ones: Steve, Mark, Betty and Valerie are captured by four hostile Earth teenagers, led by a violent hoodlum named Nick. The delinquents explain they are all that remains of a space flight in which 22 others lost their lives two years earlier. Nick accuses them of being spies for the giants, and blames them for the capture of two of his gang. When Nick’s younger brother, Joey, is captured in a giant’s animal trap, Nick threatens to harm Betty and Valerie unless Steve and the others rescue him.
    14. Brainwash:While hiding in a drain pipe, Steve and Fitzhugh find a room full of electronic equipment on a human scale, which they learn is from a lost American space flight. When Steve tries to radio Earth, the signal is intercepted by the giants, who attempt to trace the transmitter station. Steve is captured and the giants use a mind-controlling foam on him, whereupon he reveals the location of the transmitter. Mark rescues Steve, and once he recovers from the drug they try to destroy the equipment room before the giants can dig it up.
    15. The Bounty Hunter: The Earthlings are on high alert when the giants begin combing the forest for little people – even hanging reward posters for their capture. In a desperate attempt to get the Spindrift flightworthy, Steve and Mark raid a camper’s tent for anything useful. When a giant handgun is found, Mark believes he can rig it into a cannon that will defend the Spindrift camp, but Steve thinks the idea is crazy.
    16. On a Clear Night You Can See Earth: Taking advantage of the fact that the giants have poor night vision, the humans sneak into a lab after disabling the lights, but a scientist spots them with a pair of experimental infrared goggles. Steve plans to destroy the prototype goggles before more can be made, but during the attempt he and Fitzhugh are captured by the scientist. When Steve claims he can see Earth through the goggles, he piques the scientist’s interest, then offers Mark’s help in making the goggles more powerful. Fitzhugh is allowed to leave, ostensibly to fetch Mark, but actually to convey a message from Steve ordering the others to blow up the lab with him in it.
    17. Deadly Lodestone: Inspector Kobick, an officer with the police’s Special Investigations Department (SID), develops a way to track the humans using a scanner which detects a metal unique to Earth. Steve has everyone get rid of all articles containing the metal, but Dan has a surgical pin in his leg made of the unique material. Steve believes the group’s only chance to evade capture is for the pin to be surgically removed, so he seeks out Dr Brulle – the giant surgeon who saved Barry’s life previously – but the doctor is in prison, and the only chance to reach him lies in contacting his nurse, who’s real loyalty may be to Kobick.
    18. Night of Thrombeldinbar: Fitzhugh is captured by two orphan boys who believe he is “Thrombeldinbar” – a magical elf celebrated like the Easter Bunny, who grants wishes to children. Steve and Mark come to his rescue, but Fitzhugh realizes the boys are lonely and stays to entertain them. Their wish is to find a loving home, but tradition has it that Thrombeldinbar can only grant their wish if he is burned in a fire at moonrise. A panicked Fitzhugh faces being burned alive. He is saved for the moment by an organ grinder, who is hunting the little people for the reward now offered for them, but the demented man captures the orphans and threatens to harm them if they won’t reveal where more Earthlings can be found.
    19. Seven Little Indians: Inspector Kobick returns, and this time he captures Barry’s dog, Chipper. The next day the humans learn that Chipper is being exhibited at a local zoo as “The World’s Smallest Dog”. Barry runs off to save his dog, and falls into Inspector Kobick’s trap along with Fitzhugh and Valerie. Steve comes up with a plan to slip an animal tranquilizer to the guard, but the attempt is thwarted when Kobick is tipped off by Grotius, a dishonest handyman who is trying to extort a reward for the capture of the Earthlings.
    20. Target: Earth: Steve, Mark and Dan discover a lab where a giant scientist is working on a guidance system which could get a spacecraft to Earth. Overhearing the scientist, Dr Franzen, say he is working to peacefully explore the solar system, Mark proposes a deal: to perfect the device in exchange for a ride back to Earth. The scientist accepts the offer, but his wife Altha secretly tips off Inspector Kobick.
    21. Genius at Work: Barry and Fitzhugh encounter a boy genius named Jodar, who has developed a super-growth serum. After Chipper eats it and grows to giant size, Fitzhugh tries it and grows as well. Once giant sized, Fitzhugh goes around intimidating every giant he meets, until he’s arrested by the police. When he is found with little people’s money in his pocket, he is brought to Inspector Kobick. Meanwhile, Steve locates Jodar and convinces him to work on an antidote to the serum, which isn’t yet finalised. Pressed for time, Steve consumes the growth formula, and poses as Fitzhugh’s attorney to try to get him released, but Kobick’s suspicions become roused when he doesn’t buy Steve’s cover story.
    22. Return of Inidu: Seeking shelter from a storm, the little people enter a haunted house, but soon realize the green phantoms they see are illusions, created by a magician named Inidu, who was only trying to drive off a pair of trespassing boys. Inidu befriends the Earthlings and promises not to turn them in, for he too is wanted by the police. Meanwhile, the boys’ tale of their ghostly encounter makes the radio news on a local station, which brings Inidu’s former assistant, Enog, to the house. When Enog arrives, he tries to poison his old mentor in order to steal a notebook containing the secrets to the magician’s tricks.
    23. Rescue: While running from an SID officer, the Earthlings are spotted by two giant children, who, whilst chasing them, fall down a concealled well and become trapped. The giants try to dig them out, but a cave-in thwarts their efforts. After Inspector Kobick captures Steve and Dan, Valerie and Betty go to the parents of the children and offer to help them if they will convince Kobick to release their friends. After some prodding, Kobick puts duty aside and allows Steve and Dan to help in the rescue. In the meantime, Mark and Fitzhugh find another way into the well, and try to slip their friends out past Kobick.
    24. Sabotage: Steve rescues Mark and Dan from a ruthless interrogator named Bogar who believes the Earthlings pose a threat to the giant society. Steve then learns a government official named Senator Obek has sympathy for the little people and he reports Bogar’s activities. The situation becomes dire when the Earthlings learn Bogar’s accomplice has blown up a bridge and planted evidence to make it look like the little people did it.
    25. Shell Game: While down at the waterfront looking for shrimp, Steve, Valerie and Betty hide in a conch shell from a deaf boy named Dal, but he eventually finds them. His parents, facing financial problems, decide to turn the Earthlings in for the reward, and with the boy’s keen eye they follow the little people’s footprints back to the Spindrift and capture the ship as well. Mark learns that the giants’ hearing aids don’t work for the boy, but, using the Earthlings’ more advanced technology, Mark creates one that does work, and tries to convince the parents that they could sell the technology to make money instead of turning the little people over to the police.
    26. The Chase: Betty is held captive by Inspector Kobick who cuts a deal with Steve to locate a counterfeiting ring in exchange for her life. To find the criminals, Kobick puts the Earthlings into the city’s sewer system, to follow a trail of luminous ink used in printing the fake money. But the gang is tipped off, and tries to prevent this by flooding the drains with pesticide. Meanwhile, Dan, Valerie and Fitzhugh slip into Kobick’s office to rescue Betty, who is held within an inescapable force field.Note: Series regular Stefan Arngrim does not appear in this episode.

    Season Two:

    1. The Mechanical Man: The Earthlings witness a giant who goes berserk, trashes a drugstore, and murders a security guard with his bare hands. They learn the man is really a malfunctioning android, created by a scientist named Gorn, who manages to capture Mark and Fitzhugh. When Gorn learns Mark is an engineer, he makes a deal with him to figure out what is wrong with his robot in exchange for his freedom. Mark gets the machine working, but when Gorn isn’t forthcoming with his end of the deal, Steve and the others climb inside the robot and hijack it.
    2. Six Hours to Live: The litttle people overhear an anxious farmer named Cass admit to committing a murder that an innocent man named Reed is to be executed for. Steve decides to help Reed, and contacts a reporter named Simmons who is covering the execution. In exchange for the story of his career, Simmons sneaks Steve and Dan into Reed’s cell and the two help him escape. Meanwhile the other Earthlings try to delay Cass and his wife, who are trying to sneak out of town with a stash of money they stole during the crime. When Reed shows up to confront them, they think he is a ghost, and Cass confesses to the murder and theft while being secretly tape recorded.
    3. The Inside Rail: While at a horseracing track, Fitzhugh finds a winning ticket on the ground and makes a deal with a giant racetrack bum named Moley, to split the winnings 50/50. Moley cashes the ticket, but a security guard becomes suspicious and arrests him. Moley leads the guard back to Fitzhugh who manages to get away, but Mark, Valerie and Betty are captured by a second guard who secures them in a desk drawer. While Steve and Dan attempt to rescue the others, Fitzhugh discovers a giant thug who is trying to drug the favourite, Mannequin, so he will lose in the next race.
    4. Deadly Pawn: An insane man named Kronig captures the little people, but proposes a deal with them – play him at chess and if they win, they go free; lose and he turns them over to the SID. The Earthlings choose Barry, their strongest player and a junior state chess champion on Earth. An enraged Kronig believes the little people are being disrespectful by having a boy oppose him, and he has the other humans tied to the chess pieces. If their piece is captured, they will fall through the squares of the mechanical chess table and down into a blast furnace. Dr Lalor, Kronig’s therapist, protests against Kronig’s cruelty, so Kronig has him locked in the closet. Steve and Dan escape from the chessboard and try to release Lalor. Meanwhile, Barry starts to lose the game, putting the lives of those still on the board in jeopardy.
    5. The Unsuspected: Steve is exposed to spores from a poisonous mushroom and he becomes violently paranoid. Thinking the others are trying to turn him over to the SID, he lures them away one by one from the ship and ties them up inside a vent. Meanwhile, Inspector Kobick, knowing Steve has been exposed to the mushroom, expects the human to turn on his friends. He radios Steve with a deal to turn in those he captured and he’ll help him get back to Earth. When Dan comes in contact with the mushroom, he experiences its hallucinatory effects and realizes Steve has been drugged.
    6. Giants and All That Jazz: Fitzhugh, Barry and Valerie check out a music club and witness a man named Hanley rough up a down-on-his-luck trumpet player named Biff Bowers who owes him money. Later Bowers manages to capture Valerie and Barry, and knowing they are worth a hefty reward, he calls the SID. Unbeknown to Biff, Mark has rigged the phone and Steve intercepts the call to SID and buys the others some time where Dan tries a different approach – make Bowers a star overnight by teaching him Earth’s jazz, in exchange for letting his companions go.
    7. Collector’s Item: Valerie becomes the centerpiece of a golden music box when a man named Garak captures her and puts her inside it as a dancing figurine. Garak then presents the box as a birthday gift to his wealthy toy-collecting uncle, but Steve and Mark soon learn Garak stands to inherit a fortune from his uncle and the box is really a bomb triggered to go off if someone opens the cage door. While Dan and Fitzhugh try to rescue Valerie, Steve and Mark warn Garak’s wife that her husband is trying to commit a murder.
    8. Every Dog Needs a Boy: Chipper is injured when the bark from a giant dog sends him tumbling into a wall and Barry risks capture by taking him to a vet at a pet store. Valerie follows and helps Barry get Chipper into the vet’s office, but they are discovered by the vet’s assistant Ben who does what he can to help the tiny dog. Soon the shop owner’s bullying son Carl arrives, and learns little people are hiding there and tries to capture them. Later, Carl loses a valuable movie dog named King and Ben goes to search for it leaving Carl to snoop around and find Barry and Valerie’s hiding spot.
    9. Chamber of Fear: Fitzhugh is captured by a wax sculptor named Deenar who is partner to a jewel thief named Jolo. When Jolo orders the artist to cut up a large diamond into ten small pieces, he refuses believing three pieces would be worth more, and Jolo angrily ends their partnership. When Steve and Dan come to rescue Fitzhugh, they offer Deenar a deal to sneak the diamond away from Jolo in exchange for the release of their friend. Deenar agrees but Steve sends Mark and Valerie to fetch the diamond while he and Dan try to release Fitzhugh. The rescue becomes more difficult when they learn Fitzhugh is being guarded by a fierce dog.
    10. The Clones: A giant scientist abducts some of the little people and begins making clones of them. After the duplicates of Valerie and Barry sabotage the ship and try to kill the others, Steve, Mark and Dan try to rescue the originals who are being held in a lab. The near-perfect clones have a flaw however, as they become violent and then die within hours of being created. They can also be identified by dark spots on their skin, but the scientist has a special plan for Dan when he realizes the spots are invisible on Dan’s dark skin and his clone will make a better spy.
    11. Comeback: Steve, Mark, Valerie and Fitzhugh talk a washed up movie star named Egor out of committing suicide, but he repays their kindness by putting them in a shoebox and trying to sell them to a movie studio. Unfortunately, Egor is rejected at every turn until he visits a B-movie studio whose greedy producer, Manfred, gets an idea for a movie about living dolls. Meanwhile, Dan and Barry try to rescue the others from the set before Manfred makes them the hapless victims of gory death scenes that are not in the script.
    12. A Place Called Earth: Two humans, Olds and Fielder, travel from the year 5477 to observe Earth in the past, but they accidentally arrive on the giants’ planet. They show up at the Earthlings’ camp just as a giant stumbles upon the Spindrift, but the futuristic humans kill the intruder and disintegrate the body with an amulet weapon before anyone realizes what happened. Steve quickly becomes suspicious of their new guests and learns they are renegades who originally planned to kill all humans on Earth and leaving those few they captured to repopulate the future Earth with humans they can easily control.
    13. Land of the Lost: Steve, Mark, Valerie and Barry become caught in a toy balloon and end up pulled by a strange force over a thousand miles across a violent ocean to a land ruled by a ruthless dictator named Titus. The despot, however, has no knowledge of the land across the ocean and thinks all the inhabitants are as small as the little people, but when Steve explains that giants live there as well, Titus demands he bring back proof of their existence and technology.
    14. Home Sweet Home: The humans discover a space pod left behind by the time traveling visitors from the year 5477. While they investigate the craft, two giant park rangers appear and try to capture them. Steve and Fitzhugh manage to escape in the pod but the ship is on a preflight course to coordinates unknown. After escaping the giants, Mark tries to decipher the pod’s operation manual and help Steve navigate back. Soon however, the pod is caught in an energy storm that takes Steve and Fitzhugh back to a small New England town on Earth – but stuck 75 years in the past.
    15. Our Man O’Reilly: A bumbling giant named O’Reilly stumbles upon the little people, but he thinks they are leprechauns and offers to serve them. Steve thinks the giant could be dangerous, but Mark believes he could be useful and has Fitzhugh guide him along to fetch various materials and tools needed to fix the Spindrift. Meanwhile, a shady police detective named Krenko sticks his nose into O’Reilly’s business and disrupts the Earthling’s repair efforts. Secretly however, Krenko plots to frame O’Reilly in a jewelry theft.
    16. Nightmare: A giant engineer named Andre helps the little people develop a new power source – the “Delta Device” – which could power the Spindrift, but during a test the Earthlings are exposed to a burst of radiation. Afterward, they realize they have become invisible to the giants when Andre’s superior, Dr. Berger, comes to the Spindrift campsite yet is not able see the humans right under his nose. As the weird effect begins to grow out of control, it creates strange warps in space and time where the giants become invisible to the humans and Steve becomes trapped in a nightmarish dimension.
    17. Pay the Pipe: A mysterious flute player lures Dan, Valerie, Betty and Fitzhugh into a cage with his mesmerizing music. The man claims to be not only the fabled Pied Piper of Hamelin, but also a being capable of traveling between worlds and changing his size and appearance. The Piper takes the captured humans to a giant Senator, but the politician refuses to pay him for the capture. As revenge, the Piper tries to lure the Senator’s young son away. Mark devises a way to cancel out the Piper’s music by recording the music and playing it backwards. The Piper comes up with another scheme, and reduced to the size of the humans, he offers Fitzhugh a ride back to Earth if he disables the tape recorder.
    18. The Secret City of Limbo: After Mark and Valerie witness a pair of giant archeologists get attacked by a man with a laser gun, they hide in hole where they find a teleporter that sends them to an underground city called Limbo which is populated by giants unknown to those living on the surface. Their leader Taru, explains that if the archeologists discover Limbo, they will start a war which the more advanced underground giants will surely win. Taru wishes to avoid war, but his rival, General Aza, is trying to start one and had sent the gunman to kill the scientists. With the other’s help, Mark comes up with a plan to contaminate the soil at the dig site with an explosive chemical that would prevent the surface giants from blasting and discovering the hidden city.
    19. Panic: Betty and Fitzhugh are caught in a paralyzing trap and taken away by a SID officer to an interrogator named Marad. Suddenly, they are teleported away to the home of Professor Kirmus who has developed a matter transport device capable of sending anything anywhere – including the little people back to Earth. Unfortunately Kirmus’s housekeeper is really a SID operative and she turns Kirmus in to the authorities, but Marad is really after the secrets of the teleport machine. Meanwhile, Steve and the other Earthlings search for a missing component of the device hidden by Kirmus, who promises them a trip back home.
    20. The Deadly Dart: Two SID agents turn up dead, killed by poison injected at the ankle, and at the crime scene the police find the footprints of little people and a blowgun with Mark’s initials inscribed on it. Back at the Spindrift, the humans learn a giant reporter named Bertha Fry is spreading accusations that the Earthlings are murderers and should be exterminated. Fitzhugh openly accuses Mark of being the killer and when more evidence mounts against him, Mark mysteriously disappears. When a giant lab is blown up and another giant is murdered, Steve races to locate Mark who he suspects is really being set up by the reporter who wants her “big story”.
    21. Doomsday: The little people help a giant man named Kamber who has been shot by police, but he refuses medical help and has the humans contact a woman named Dr. North instead. Once North arrives, it is revealed she and Kamber are part of terrorist plot to blow up half-a-million people. When she learns that the Earthlings have overheard the plan, she tries to kill them, but the humans manage to escape, with Fitzhugh injuring his leg. Betty and Valerie stay with Fitzhugh, while the others try figure out a clue left behind by Kamber that could lead to the location of the bombs. However, Inspector Kobick captures Betty and Fitzhugh, and doesn’t buy their story of the terror plot, leaving Steve and the others to foil the plan themselves.
    22. A Small War: The little people encounter a giant boy named Alek who has come to play war with another unseen opponent named Falco. Armed with several mechanical army men, and a remote controlled jeep, tank and airplane, Alek launches an assault upon the little people who he thinks are Falco’s mechanical toys. Unfortunately for the Earthlings, at their scale, the war toys are just as lethal as the real things and must be stopped. Steve tries to reason with the boy, but is unsuccessful; and after Alek “bombs” the Spindrift camp with stones from the plane, a fed up Mark attempts to stop the child even if it means having to harm him.
    23. The Marionettes: After a gorilla escapes from a circus and captures Valerie, the little people help guide a puppeteer named Goalby in finding the beast. Although Valerie is freed from the ape, Betty becomes caught in an animal trap and Goalby helps release her too. In doing so, he injures his hand and cannot perform. To repay him, Betty and Fitzhugh decide to be Goalby’s marionettes until his hand heals. Meanwhile, Dan and Valerie are captured by Brady, the circus master; and he quickly realizes Goalby’s puppet show is a farce. Instead of firing the puppeteer, Brady schemes to make a fortune off the realistic puppet act and forces Goalby to maintain the illusion. Goalby instead, tries to help Steve and Mark rescue their friends.
    24. Wild Journey: Steve and Dan encounter two time-travelling people their size, Throg and Berna, who escape a SID agent by using an amazing device called the STM – “Space-Time Manipulator”. Throg demonstrates the abilities of the STM which can send anyone, to anywhere, to any time. Steve believes he could use the device to return to Earth and change everyone’s current predicament by avoiding taking off for the fateful flight of the Spindrift. Steve manages to gets a hold of the device and he and Dan teleport back to Los Angeles spaceport on Earth just before the flight. Throg and Berna soon arrive and angrily explain that it is forbidden to change history, but Steve and Dan do not want to go back to the giant world so easily.
    25. Graveyard of Fools: Steve, Dan, Valerie and Fitzhugh are caught by a mad scientist named Melzac who puts them in a model plane and flies it to the “Graveyard of Fools” – an uncharted land on the giants’ world that no one has ever returned from. During the flight, the plane enters a mysterious vortex and vanishes along with the little ones who find themselves in a bizarre world under the control of Melzac’s twin brother Bryk. Meanwhile, Mark is caught by Melzac who reveals he and his brother’s plans to fix an alien device, the “servo actuator”, which is causing ripples in space and time and requires the use of the little ones to get inside it and conduct repairs.

  • DVD review: “My Friend Dahmer” (2017)

    “My Friend Dahmer” (2017)

    Drama/Thriller

    3-stars

    Running Time: 107 minutes

    Written & directed by: Marc Meyers

    Featuring:  Ross Lynch, Alex Wolff, Dallas Roberts, and Anne Heche

    Jeffrey Dahmer: I’m just like anybody else.

    This week sees the release on DVD of a movie centered on part of the adolescent life of now dead serial killer Jeffrey Dahmer in the interestingly titled “My Friend Dahmer” (2017) which was initially a graphic novel by childhood friend Derf Backderf . Backderf examined his friendship with Dahmer which included an empathetic portrait of Dahmer as a lonely young man, tormented by inner demons, ridiculed by bullies at school, and neglected by the adults in his life. The graphic novel recalls Dahmer’s isolation, his binge drinking, his bizarre behaviour to get attention, and his disturbing fascination with road kill. Derf and his friends encouraged Dahmer to act out, including faking epileptic seizures in school and the mall and pretending to have cerebral palsy, Dahmer did this to fit in with his peers.

    Interestingly this movie feels not to far from its origins with its subtle characterisation, its deliberate pace, the way in which real people are treated as three dimensional characters and not just background props to be juxtaposed against Dahmer who is the central character as well as the one person the audience is supposed to concentrate on. What I enjoyed about this movie is that it paints the picture of someone real, not an arch character that we are supposed to vilify from the beginning. As with real life people are shaped by a variety of influences, I found myself wanting to reach out and shake the people around Dahmer to open their eyes to the person that he is slowly becoming. Unlike other movies about serial killers this one is almost sympathetic as it attempts to understand Dahmer in his earlier years, not in adulthood when many other similarly themed genre movies are set, when the killer is carrying out his crimes. That is why “My Friend Dahmer” is more drama than anything else with hints of horror in terms of his fascination with death and taxidermy. In fact I would say that this is one of the better films that deals directly with serial killers because of two main elements; its origins as well as the fact that is was originally written by someone who knew Dahmer at the time, and the fact that this is not a sensationalist film in the slightest, it also makes sure not to sugar coat or make you feel sympathy for the antagonist, it represents elements of the time period almost objectively which besides the performances is possibly its greatest strength.

    Adapted and directed by Marc Meyers “My Friend Dahmer” has to be seen as a real breakthrough as it deals with some very serious issues as well as being based on a real person who committed some extremely atrocious murders. There is no doubt that this would have been a challenging film to make, especially in terms of honouring the real people involved as well as the very fact that anyone viewing this knows what the future holds for Dahmer so this will not be surprise. For me the key is how the film has been directed as well as how it deals with the motivations of all those involved which gives a clue as to almost everyone’s decision making, and it is a period piece which would normally mean a large budget, which this movie did not have. The deliberate, steady pace of this film underpins the frustration that is felt by not only Jeffrey Dahmer, but indeed the rest of his family as they all struggle to not only deal with their own lives but with each other, this is not a happy family that do not communicate with each other at all, with the central issue being Dahmer’s mothers mental issues that take their toll on the entire family. This is coupled and exacerbated by the vast amount of time Dahmer is able to spend by himself and his adolescent yearnings that he has no clue how to deal with. The director in my mind does not shy away from the role that Dahmers family played in his creation as a killer and not just a confused teenager, which I am sure many people will understand.

    The film begins in 1974; Jeffrey Dahmer is a high school freshman living in Bath, Ohio, with his parents, Lionel and Joyce, and his little brother, Dave. For a hobby, Jeffrey collects dead animals that he dissolves to the bones using chemicals provided by his father, who is a chemist. This hobby is initiated by his obsessive interest in how animals are “fitted together”.

    In 1978, Lionel trashes Jeffrey’s collection of bones and orders him to make friends at school. During school, Jeffrey imitates spasms, clears his backpack, and makes loud noises, catching the attention of aspiring artist John “Derf” Backderf and his friends. Jeffrey inspires Derf to draw him in various situations; drawings that would later form Derf’s graphic novel My Friend Dahmer. Derf and his friends form the “Dahmer Fan Club,” using Jeffrey for a variety of pranks such as sneaking him in every club yearbook photo. Meanwhile, Joyce starts relapsing into chronic mental illness, leading to increasingly bitter fights between her and Lionel. To cope, Jeffrey turns to drinking heavily, and begins killing animals himself. From these points we follow Jeffrey on his road to a breakdown that drives him toward the life he will eventually have, with the movie ending on his first time killing a hitcher, although we do not see this onscreen.

    “My Friend Dahmer” would not be a success without a lead actor that could not only understand the person his is portraying but could also offer a performance that was at once menacing but also innocent as well, in actor Ross Lynch who is relatively unknown they have found someone who is able to this and more. Lynch is believable in his part having to not only be a presence onscreen but has to almost play a few characters as he shows different faces to different people in his life, not only that but he has to be incredibly physical as well. The other two actors that are worth mentioning are Alex Wolff as Derf Backderf and Anne Heche as Jeffrey’s mother, both play their parts expertly with enough differentiation within each performance to make them extremely watchable. Heche is one of those actors who has been around for such a long time as well as appearing in so many different parts that it is easy to overlook how good an actor she is but here we are reminded. Wolff on the other hand is a relative newcomer but has proven he is exceptionally gifted with his role in this years “Hereditary” (2018) to prove that point.

    This film is exactly the type of character study that should be produced when looking at serial killers as it shows another side of them as well not reducing them to what we have seen for the past five decades which is the slash and burn movie, that not only denigrates the victims but in most cases elevates the killers. As this has been generated by someone that new Dahmer before, or as he become a killer we are viewing that person at least once removed as well as objectively, or as much as can be considering we are aware of who he will ultimately become and what he will do.

    I for one was surprised by how this movie was constructed as well as the effect it had on me, I could at least begin to understand how Dahmer was created although I do not excuse this or forgive his actions as he still committed them and I for one believe he knew what he was doing. This is a very film and one I would recommend although it does contain scenes that may disturb.

    “My Friend Dahmer” is out now on DVD.

     

  • DVD review: “Outrageous Fortune” (2005 – 2010)

    “Outrageous Fortune” (2005 – 2010)

    Television

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    107 Episodes

    Created by: James Griffin & Rachel Lang

    Featuring:   Robyn Malcolm, Antony Starr, Siobhan Marshall, Antonia Prebble, Frank Whitten, Kirk Torrance and Grant Bowler

    Munter: “Yeah, it was float like a butterfly, sting like a wasp.” 

    Eric: “Bee.” 

    Munter: “What?”

    Eric: “Nah, the saying goes ‘float like a butterfly, sting like a bee.’” 

    Munter: “How do you know how it goes? I only just made it up.”

    Believe it or not there was a time when any kind of drama that was about New Zealanders that would or could air on New Zealand television was unthinkable unless it was a soap in the vein of Shortland Street (1992 – present) or going back further Close to Home (1975 – 1983). So it is amazing that after many television embarrassments as well as failures a show like “Outrageous Fortune ” (2005 – 2010) not only found a home but also was successful and well reviewed.

    This is not a great reflection on New Zealand at all with a mostly white cast, very low rent characters which are all played for laughs as well as the treatment of women and minorities, it is made for people that are listeners of sports talk radio or people who have no interest in seeing past their own class, gender or culture.

    The series followed the lives of the West family, headed by Cheryl (Robyn Malcolm) and Wolf West (Grant Bowler). The family relied on crime for an income, with Cheryl working at a stolen goods shop. When Wolf is incarcerated, Cheryl informs her family, Van (Antony Starr), Jethro (Antony Starr), Pascalle(Siobhan Marshall), Loretta (Antonia Prebble) and Ted (Frank Whitten) that they will obey the law and play it straight.

    Season one (2005)

    When career criminal Wolf West is jailed for four years for assorted criminal acts, his wife Cheryl makes the decision that the family will get honest employment, instead of continuing their life of crime. Wolf is not pleased about this, but there’s not much he can do from jail. Cheryl is initially disillusioned by her attempts at earning a legal living, but she and a couple of her friends start a business called “Hoochie Mama” making and selling sexy underwear, all the while resisting the newly found attraction of policeman Wayne Judd. The West children Jethro, Van, Pascalle and Loretta all struggle to cope with the new-found rules in their own ways, while Ted struggles to come to terms with his late wife.

    Season two (2006)

    In season two, Wolf has been released on home detention. He has no intention of keeping to Cheryl’s new rules on life. Judd is determined to tear him away from Cheryl, and attempts to entice Wolf to break his parole so that he is returned to prison. Wolf escapes home detention and Judd moves in, much to the horror of the children. Pascalle starts to date Pakistani doctor Bruce, Van finds the love of his life Aurora and Loretta starts to date much older man Hayden. Jethro shocks his mother when he reveals he is still a criminal and only doing law to learn how to break the law more successfully. The season ends on Wolf framing Judd for a robbery he committed.

    Outrageous Fortune: The Movie

    This one-off two-hour TV movie followed on from season 2.

    The West family, as well as Aurora, Eric and Munter go camping at Tutaekuri Bay, a magical place where they have gone camping every year at Christmas. Tutaekuri means “dog shit” in Māori and is a fictional place for the purpose of the movie.

    Season three (2007)

    The third Season sees Cheryl still battling to keep her family on the straight and narrow. Both the men in her life are inside – Wolf after turning himself in to the cops as part of his master plan to frame Judd; Judd from being framed by Wolf. She borrows money from Gary Savage to pay for a better lawyer for Judd, which results in his release but the debt causes a strain in their relationship. Aurora dies in a road accident while trying to hide her ex-boyfriend’s drugs after Van called the police on him, spiraling Van into depression. Loretta is outraged when Hayden edits their film to be more explicit for commercial gain, breaks up with him as punishment, and harasses him after he flatly accepts it instead of trying to win her back. This escalates until he leaves, and she burns down his house. After Hayden has left, she discovers she is pregnant by him. Bruce breaks up with Pascalle after he sees her (edited to be more explicit than she actually performed) porn movie. Jethro finds love in Danielle, a single mother and ex-wife of Gary. Ted becomes suspicious of Gary and tracks down Wolf, only to find Gary is Wolf’s half brother. Over the season Munter develops a relationship with Kasey and marries her in the final episode.

    Season four (2008)

    The family is brought together when Cheryl talks Loretta out of adopting out her baby, whom she names Jane. Cheryl having broken up with Judd, starts to have feelings for Wolf again, who is in a rocky relationship with the much younger ex-stripper named Sheree. Sheree’s dodgy brother Nicky arrives and stars a relationship with Loretta. Pascalle returns from a trip abroad, having married the wealthy Milt. Milt eventually dies, leaving Pascalle a fortune. Sheree and Nicky conspire to get access to her money by having Nicky break up with Loretta and start a relationship with Pascalle. Wolf attempts to earn some money by facilitating a shipment of drugs for Nicky in a container, which Jethro steals to ransom, but Van and Munter destroy the drugs. Jethro is forced to run away when he takes the blame for the drugs being destroyed. Van starts an affair with Sheree. Loretta and Jethro set Wolf up for burglary and Cheryl returns to Judd, becoming pregnant. Sheree also becomes pregnant, either to Van, Wolf or Jethro (it is strongly implied that it is Jethro, but not confirmed). After Hayden’s sister finds out about baby Jane, she forced Hayden to return to care for his child. Ted courts and at the end of the season, marries the scheming Ngaire. Pascalle becomes engaged to the dodgy Nicky much to her family’s disbelief.

    Season five (2009)

    Zane Gerard (Charles Mesure) fires three shots at Cheryl and Pascalle after being stabbed in the neck by Cheryl. New policemen Zane Gerard becomes a fixture in the West’s lives, due to his past involvement with Sheree and Nicky Greegan. Van is pressured into becoming a police informant (behind the backs of all), infuriating Sheree when she finds out. Jethro starts up a business selling legal party pills. Nicky truly falls for Pascalle, enraging Sheree who makes off with Pascalle’s millions and attempts to murder Van (to claim life insurance). After a rogue job robbing a Chinese money lender, Pascalle breaks up with Nicky. Loretta gets back together with Hayden and the two decide to marry as so they get custody of Jane. Ted ends up in prison for robbery and is helped out by Nicky, causing him and Pascalle to get back together. Near the end of the season, Cheryl has a stillbirth. The season ends with Gerard trying to arrest Pascalle for offensive language, resulting in a brawl (in the midst of Loretta and Hayden’s wedding), only to be stabbed in the neck by Cheryl and turning round to fire three bullets in her direction.

    Season six (2010)

    In the aftermath of Loretta and Hayden’s wedding, it is revealed that; Pascalle takes a bullet, but survives, Cheryl is arrested for assault with a deadly weapon, Munter, Kasey, Van and Ted are arrested for various crimes, and Eric, who returned in the last series, has taken residence in the Wests’ home. Over the course of the first episode, Officer Zane Gerard dies, leaving Cheryl to be charged with murder. Van starts to see his lawyer Bailey, only to learn she is dating Jethro. Loretta opens up a brothel while Nicky escapes prison and tries to take Pascalle with him. The two break up and Sheree reveals where her children are, with Van becoming a part-time father to them. Judd and Pascalle develop feelings for each other and start an affair, disgusting Ted. Cheryl’s charges are dropped and she is devastated to learn about Judd, finally forgiving him in the season finale. Pascalle and Judd leave, while Van marries the Russian Elena. Loretta, Hayden and Jane continue to be a happy family and Jethro fulfills his mother fixation.

  • Television review: “Doctor Who – The Tsuranga Conundrum” (Episode 5, Season 11)

    Television review: “Doctor Who – The Tsuranga Conundrum” (Episode 5, Season 11)

    Television/Sci-Fi

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    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    The Doctor: “Its a hospital”

    This weeks episode “The Tsuranga Conundrum” marks the halfway point into this eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. While, as I have stated before, this is the biggest change to the series since it was returned to air in 2005 there does seem to be some critics who want the series to return to some earlier incarnation, I am almost sure this is based around gender, although there has not been a loud outcry, I believe the gender bias has been coded.

    The strength of not only this season but all of the entire series rests with one element, the person playing ‘The Doctor’, how well they do it, their originally and their general acceptance by the audience. After five episodes I believe that Jodie Whittaker was an excellent choice, I hope she stays on for a few years, as to me she grasps what the role is, how to play it and how to interact with all those around her. The other two elements are the regular companions that accompany ‘The Doctor’ as well as the producers that feed the stories through each week, who decide how the narrative of each episode operates and how they may feed into some overarching narrative.

    What is different from previous seasons especially as the show moved from Christopher Eccleston to each subsequent actor these overarching narratives got more and more complex to the point that it was difficult to have a stand alone episode, but when they did occur they were all normally better than the episodes that contributed to season long narratives and plots. What is lacking with this new season is really some episodes with some real meaning as well as grit, something to really hold on to as well as maybe offering some kind of antagonist that lends the show some weight giving audiences a real taste of the past with an eye on the present.

    With all that said this week sees another episode that while very entertaining, much like the previous four, is quite light on depth that does half way through the season pose a little issue for me, as I do think that stand alone stories do tend to ring a little hollow. With all the choice that people have to view stories there does need to be something to bring people back week after week, not cliffhangers but a link that would be ended by the last episode. What is strange is that Chris Chibnall has been a master of this after his work on “Broadchurch” (2013-2017), interweaving many different plots over four long seasons, it seems he would be able to do something similar here, maybe on season two. In the shows defense this is a settling in period for all involved so it may be a matter of learning to walk before one can run, in which case I support the slow and steady approach.

    This weeks episode then is another monster of the week although once again the antagonist is not really bad or evil, just a little hungry, and coincidentally enough does eat flesh just machinery, so putting our heroes in more of a sideways story. Set in an ambulance of sorts our crew are split in half so that.a few tasks must be completed to win the day. What was most disappointing about this episode was that it involved delivering a baby under pressure which is about as trope laden as you can expect, with a twist of sorts straight from “The Young Ones” where Vivian (a boy) gets pregnant. This entire ‘B’ story helps to address one of heroes abandonment issues as well as the ongoing pressure of Bradley Walsh’s character to fit in with his step Grandson, the only saving grace of this tired element being that Walsh is the comic relief doing a wonderful job.

    Speaking of course of the biggest change in the casting of Jodie Whittaker, how is she going after four episodes? Well I think the answer is very well, she seems to understand the randomness as well as the whimsy of the character as well as how to deliver her lines, should we have expected anything less of someone who has skill and time in her profession? Probably not, however she does have something that many of the great ‘Doctors’ have, that is that ability to project true emotion in the understanding of what is important to the main character.

    I watch “Doctor Who” on a 4K television and the step up in effects, especially the CGI is noticeable, especially this week with some CGI spiders of varying sizes all looking very good, not how some effects have looked previously which is a welcome relief as time and money has been invested to make them look as good as possible.

    All in all though I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come.

    “Doctor Who – The Tsuranga Conundrum”

    Written: Chris Chibnall 

    Directed: Jennifer Perrott

    While scavenging on an alien junkyard planet, Team TARDIS are injured when Graham unearths a sonic mine. When they regain consciousness, they find themselves onboard the Tsuranga, a medical ship crossing space to reach a ‘resus’ spacestation. But within minutes of their arrival, the ship comes under siege from the P’Ting, a creature that causes havoc by eating the Tsuranga’s power source. While Graham and Ryan are called to the side of a male patient who’s about to give birth, the Doctor and Yaz rally the ship’s patients to stop the P’Ting – but their victory comes at a cost.

     

  • Teaser trailer: “Disney’s Aladdin” (2019)

    “Disney’s Aladdin” (2019)
    In cinemas May 23, 2019

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    “Aladdin” is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future. Directed by Guy Ritchie, who brings his singular flair for fast-paced, visceral action to the fictitious port city of Agrabah, the film is written by John August and Guy Ritchie based on Disney’s “Aladdin.”Teaser trailer