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Reviews, Star Trek, Television

TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION: SEASON 7 (1993 – 1994)

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TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION – SEASON 7 (1993 – 1994)

Based on Star Trek & Created by: Gene Roddenberry

Season 7 writers (selected): Joe Menosky, Jeri Taylor, Ronald D. Moore, Brannon Braga, René Echevarria, Michael Piller, Naren Shankar, Jean Louise Matthias, James E. Brooks, Michael A. Medlock, Christopher Hatton, Nick Sagan, Spike Steingasser, Dan Koeppel, etc.

Season 7 directors (selected): Les Landau, Cliff Bole, Winrich Kolbe, Alexander Singer, Robert Weimer, Robert Scheerer, Adam Nimoy, Patrick Stewart, Jonathan Frakes, Gabrielle Beaumont, James L. Conway, LeVar Burton, Gates McFadden, etc.

Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, John De Lancie, Wil Wheaton, Kirsten Dunst, Paul Sorvino, Dwight Schultz, etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****

Full Details On Star Trek: The Next Generation Season 7 & 'All Good Things' Blu-rays – TrekMovie.com

My Star Trek journey started when I was a kid many moons ago. I used to watch the original series on my portable telly in the kitchen while eating dinner. I loved the adventures of Kirk, Spock, Bones, Uhuru and the rest of these bold space heroes. Thus, it was surprising that the whole of the Next Generation era of shows, including DS9 and Voyager, passed me by. Nonetheless, I have, since writing and producing two Star Trek fan films, been on a dedicated mission to watch every episode and film of the franchise that has been released.

This escapade began with the original series and my first blog review can be read here:

TO BOLDLY REVIEW #1 – STAR TREK: THE ORIGINAL SERIES (SEASON 1)

Subsequently, and three engrossing years later, I have finally completed watching the last season of The Next Generation. I have to be honest that this marathon viewing project is certainly a big cultural task. Furthermore, I still cannot work out how the hell they managed to produce so many episodes per season for TNG. It truly beggars belief the amount of high quality TV that was produced. I mean, I was exhausted watching it, so how those making it felt I do not know. I guess the fan’s respect and money and joy of being part of the Star Trek legacy was more than compensation.

Season 7 was again a mammoth twenty-six episode tranche. One might think there would be a drop in quality and there was some element of this in certain episodes. However, that was more to do with attempting to crowbar in a satisfactory ending for certain characters, notably Wil Wheaton’s anaemic, Wesley Crusher. Family ties and dramas linked many of season 7’s narratives, yet there was also the usual high concepts and socio-political themes explored throughout. Thus, dearest Next Generation, I thank you for taking me on a bold ride to the final frontier of journey’s end. Here are six of my favourite episodes of season seven!

ATTACHED – EPISODE 9

One of the great pleasures of watching The Next Generation is that the show always gave us mature romantic relationships. The “will they-won’t they” romance of Dr Crusher and Captain Picard is directly addressed in Attached, as the two find themselves shackled physically and telepathically by a paranoid alien race. As they attempt to survive and escape capture the two explore their hidden feelings in a moving episode of some power.

Doux Reviews: Star Trek The Next Generation: Attached

THE PEGASUS – EPISODE 12

Commander Riker (Jonathan Frakes) is portrayed as a dynamic action hero of strength and skill, so it is always interesting when his character is tested. In The Pegasus he is faced with both the sins of the “father” and of his own past. The surrogate father is this case is Captain Erik Pressman, portrayed brilliantly by Terry O’Quinn. Pressman is determined to track down the lost ship, ‘The Pegasus’ before the Romulans get to it. He places pressure on Riker to keep confidential the secrets the missing vessel has as the episode contains great drama and conflict.

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HOMEWARD – EPISODE 13

When shows have been going for many seasons they often have to introduce previously unknown siblings, parents or love interests to manufacture storylines. I totally get this and often it creates fantastic episodes. In Inheritance we get to meet Data’s “mother”, but an even better episode is Homeward where Worf’s foster brother, Nikola (Paul Sorvino) rebels against the ‘Prime Directive’ to save the Boraalan people. It’s a great episode full of twists and some excellent scenes between Paul Sorvino (not playing a gangster for once) and the ever-excellent, Michael Dorn. The use of the holodeck as an integral part of the narrative is highly inventive too.

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LOWER DECKS – EPISODE 15

Most episodes of Star Trek will focus on the core characters with a leaning to one or two of the main cast. But Lower Decks turns that around with the fantastic premise of profiling some of the younger crew members. It’s a well written narrative which focusses attention on a Starfleet promotion with Ensigns Sito Jaxa, Sam Lavelle and Taurik in “friendly” competition to achieve the goal. We immediately warm to their personalities as the witty dialogue adds much fizz, but the drama of the piece is heightened when Bajoran, Sito Jaxa, is sent on a dangerous mission, leading to a powerfully emotional denouement.

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GENESIS – EPISODE 19

I loved this episode because it contained a fantastic melding of sci-fi and horror genres with some monstrous creatures on show. With Gates McFadden directing her only episode, the story finds the Enterprise crew falling ill and regressing to various animal states. Worf has reverted into an aggressive predator attempting to mate with Troi; Riker an Australopithecine (Caveman); Troi an amphibian; and Barclay a spider. Even Spot the cat has become an iguana. While it may sound weird and a bit silly I loved the imaginative animal transformations as the cast shed both their human skin and inhibitions.

Star Trek: The Next Generation" Genesis (TV Episode 1994) - IMDb

ALL GOOD THINGS – EPISODES 25/26

As they say all good things come to an end. So, after boldly going for many seasons, The Next Generation finally concluded with a moving and inventive two-parter. I must admit that while it was clever to call back to the first episode, Encounter at Farpoint, I was never a massive fan of the character, Q. Even though John De Lancie’s performance always brought great energy to every episode, I just felt that this character with uber-God-like powers could always resolve the drama with a Deus ex Machina click of the fingers. Nonetheless, the idea that he was always testing humanity was a great theme, and once again in All Good Things, he puts Jean Luc Picard through a trio of trials in the past, present and future. It’s a superbly written, acted and directed finale and possibly one of the best final episodes of a long-running TV show of all time! The last scene with Picard finally joining his crew at the poker table is truly logical! Make it so – Number One!

10 Things You Should Know About "All Good Things..."
Amazon Prime, Cinema, Reviews

THE RENTAL (2020) – HIDDEN FILM GEM ON AMAZON!

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AMAZON FILM REVIEW: THE RENTAL (2020)

Directed by: Dave Franco

Screenplay by: Dave Franco, Joe Swanberg

Story by: Dave Franco, Joe Swanberg, Mike Demski

Produced by: Dave Franco, Elizabeth Haggard, Teddy Schwarzman, Ben Stillman, Joe Swanberg, Christopher Storer

Cast: Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss

Cinematography: Christian Sprenger

*** MAY CONTAIN SPOILERS ***

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If you’re old like me you will remember the golden era of video rental stores in the 1980’s and 1990’s. I used to love going to the video shop at the weekend and choosing which films to watch. For example, on a Saturday afternoon at Blockbuster I would choose three films usually. One would be a banker like a high quality release or made by an acclaimed filmmaker whose work I was certain to like. Another would be a more commercial choice like a high concept action film or comedy; something to take the brain out for. Lastly, I would take a gamble on either an arthouse or foreign or indie character-driven film; OR an even bigger gamble on a lower-budget or unheard horror film or thriller with a back-of-the-video-box pitch that grabbed me. Often the latter choice would end up being a terribly arty bore or a schlocky B-movie disaster. However, every now and then I would find a film gem which totally gripped me.

With streaming now there’s not so much of a gamble as you haven’t had to walk or drive to the video shop. Even better there’s no need to return the tapes on time and risk getting fined. You switch on your streaming device and choose your film. If you don’t like it you can turn it off, although I do tend to see things through to the end on most occasions. But hey Paul, enough about comparing the past with the present – WHAT’S YOUR POINT! Oh yes, the Dave Franco directed The Rental (2020) is one of those films which I took a chance on because of the cast and the back-of-video-box-pitch (i.e. the Amazon online trailer). I’m glad I did watch it, as it is a terrific thriller with a tension-filled script which leads and misleads you through a series of compelling twists. It’s a simple premise, involving two couples spending the weekend at a beautiful rural property where poor choices destabilise their harmony, only for all hell to break loose when a serious crime escalates the action.

The cast of Dan Stevens, Alison Brie, Shiela Vand and Jeremy Allen White are arguably punching below their weight where the B-movie material is concerned. Yet, they bring quality to the proceedings as the initial peace between the characters descends into chaos when first infidelity and then murder rears its ugly head. One of my favourite character actors, Toby Huss, is excellent here too as the suspicious property manager. I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.

Mark: 8 out of 11

BBC, Comedy, horror, Reviews

BBC TV REVIEW: INSIDE NO. 9 – SERIES 6: CONSISTENTLY DENYING ARTISTIC EXHAUSTION BY DELIVERING FURTHER TELEVISUAL GENIUS!

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BBC TV REVIEW: INSIDE NO. 9 (2021) – SERIES 6

Created and written by: Steve Pemberton & Reece Shearsmith

Directors (Season 6): Matt Lipsey, Guillem Morales

Original Network: BBC (available on BBC Iplayer)

No. of Episodes: 6

I have written exhaustively about how brilliant this television programme is, so much so I don’t think I can add any further other than I believe it deserves regaling as TV national treasure. Just when you think Reece Shearsmith and Steve Pemberton could be running out of creative steam they prove you wrong with another superb series of Inside No. 9. If you are interested, here are prior articles I have written about it.

1) NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER! | The Cinema Fix presents:

2) BBC TV REVIEW – INSIDE NO. 9 (2020) – SEASON 5 – more hare-raising twists from geniuses Pemberton and Shearsmith! | The Cinema Fix presents:

However, to recap, if you have never seen Inside No. 9 I urge you to do so. It is an exceptional anthology series with six stand-alone episodes per series. Individual episodes feature a whole host of different characters and amazing actors each time led by the multi-talented Pemberton and Shearsmith. As per the prior seasons, the latest one is absolutely unforgettable. It again privileges tightly woven thirty-minute short narratives, which more often than not, feature a twist in the tale. Moreover, the events usually unfold in one location with rarely more than a handful of characters. This makes the narratives feel more focussed, intense and intimate. In series 6, there is even more growth within the anthology genre and much risk-taking where style and form are concerned.

So, here are my mini-reviews of each episode from Season 6 with marks out of nine (obviously).

*** BEWARE: POTENTIAL SPOILERS ***

EPISODE 1: WUTHERING HEIST

Main cast: Paterson Joseph, Gemma Whelan, Kevin Bishop, Reece Shearsmith, Steve Pemberton, Rosa Robson, Dino Kelly etc.

Not only are Pemberton and Shearsmith accomplished actors, writers and directors, they are also acutely aware how fans revel in their incredible work, devilishly mocking their own mythology and playing with audience expectations. They do this to dizzying impact in the puntastic opening episode, Wuthering Heist. Marrying elements from farce, crime, Commedia dell’arte and the plot of Reservoir Dogs (1992), the players wear masks, prat about and bleed over each other while attempting to pull off a diamond heist. Set in one location, a disused warehouse, Gemma Whelan is superb as the fourth-wall breaking narrator attempting to hold all the story innards together. Pretty soon though one realises that the flurry of puns, sight gags, plot contrivances and comical misunderstandings are intended as wondrous and silly fun. The lack of emotional depth is the joke here and the writers know this. Because Shearsmith and Pemberton’s script has a gag every four seconds, be it a sight jape or involve some sparky verbal dexterity. Lastly, not only do they know they are jumping the shark, but they revel in doing so during this hilarious meta-work.

Mark: 8 out of 9

EPISODE 2: SIMON SAYS

Cast: Reece Shearsmith, Steve Pemberton, Lindsay Duncan, Nick Mohammed

Among many of the recurring pleasures of watching Inside No. 9 is wondering what the number nine will refer to. It’s been a myriad of things including: a karaoke booth, a hotel room, a train sleeper car, a dressing room, a referee’s changing room, and even a shoe. In Simon Says it’s the name of a television epic called The Ninth Circle. This show is very similar to Game of Thrones in genre and scale, and likewise has a battalion of fans across the country who feel the final series undid the majesty of the prior seasons. The episode opens with immediate mystery as Steve Pemberton’s writer, Spencer, enters his flat with blood staining his clothes and conscience. Suddenly, Simon (Reece Shearsmith), is at the door saying he has evidence Spencer has committed a serious crime. Simon, a Ninth Circle uber-fan then blackmails Spencer into, among others things, rewriting the whole of the last season of The Ninth Circle into something more fan-friendly. Managing to be both funny and suspenseful in equal measures, Pemberton and Shearsmith’s characters play cat-and-mouse expertly, throwing in several big plot twists at the end of this compelling tale.

Mark: 8 out of 9

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EPISODE 3: LIP SERVICE

Cast: Sian Clifford, Steve Pemberton, Reece Shearsmith

I watch some television series and films and am often struck at how much time is wasted in setting up the protagonists and story. Similarly, in unnecessarily long TV series you get either eight or ten episodes full of padding in the middle which destabilizes the momentum of the story. Nothing of the sort occurs in Inside No. 9. Stories are set-up with stylish economy and the situations immediately grab you by the throat and rarely let go. In Lip Service, Steve Pemberton’s downtrodden Felix is holed up in a hotel room waiting to liaise with a woman. But it’s not what you think. Sian Clifford’s Iris arrives and it turns out she is there to offer her services as a lip-reader. Felix suspects the woman he loves is having an affair and he requires Iris to read her and a possible lover’s lips at an adjacent hotel suite. I’ve now seen this episode three times and it truly is breathtaking. There’s empathy for Felix’s lost soul, some fine linguistic comedy, a potential romance, Clifford’s performance knocking it out of the park, Reece Shearsmith having great fun as an officious German hotel manager and THAT ending. The denouement, while totally believable, comes out of nowhere and leaves you genuinely speechless.

Mark: 8.5 out 9

EPISODE 4: HURRY UP AND WAIT

Cast: Adrian Dunbar, Steve Pemberton, Reece Shearsmith, Donna Preston, Bhavna Limbachia, and Pauline McGlynn

Quite possibly my favourite episode of the series, Hurry Up and Wait manages to achieve that difficult juxtaposition of being meta-textual and containing some real emotional power. Because it is one thing to be self-referential and satirise the creative process, in this case the making of a television police drama starring famous actor Adrian Dunbar, but it’s quite another to build in a murder mystery and empathetic characters who you root for. While Reece Shearsmith is always excellent playing angry characters, here he portrays James, a mild-mannered actor, who has got a break playing a scene with the precious talent, Dunbar. The TV drama they are in concerns a missing child and the “green room” happens to be a static caravan owned by a working-class family who may have important information about said grisly crime. Steve Pemberton and Pauline McGlynn play the parents of immature, Beverley – the brilliant Donna Preston – adding much comic relief, but all possibly hiding a dark secret. As James learns his lines he also plays detective seemingly discovering the truth until the truly chilling ending is revealed.

Mark: 9 out of 9

EPISODE 5: HOW DO YOU PLEAD?

Cast: Steve Pemberton, Reece Shearsmith, Derek Jacobi

Arguably the darkest tale, both in terms of the noir lighting and foreboding themes, it is difficult to discuss this tale of soul-searching guilt and justice without giving away too much of the story. Thus, I’ll talk about the actors and characters more. Derek Jacobi gives a deeply moving performance of a dying barrister who prides himself of, after an upturn in his early legal career, never losing a case in court until retirement. As he lies dying in bed, lungs heavy around his heart, he feels guilt about one case where he defended the indefensible. As he confesses his regret to Shearsmith’s cheery carer, it is soon revealed both men have sins they buried in the past which will soon come back to bite them. Watching these two fine actors spark off one another is as compelling as television drama can get, but there’s also comedy there too as Shearsmith delivers some spirited one-liners in between Jacobi’s grand screen gravitas. But where’s Pemberton I hear you ask? He’s sitting there waiting patiently in the shadows of this evocatively lit and thrilling tale.

Mark: 8 out of 9

EPISODE 6: LAST NIGHT OF THE PROMS!

Cast: Steve Pemberton, Reece Shearsmith, Julian Glover, Debra Gillett, Bamshad Abedi-Amin, Sarah Parish etc.

Are you aware of the work of Dennis Potter? He was one of the finest writers in British television from the 1960’s way into the early 1990’s. His scripts were always highly erotic, political and incredibly controversial. They skewered very British and human themes and burnt great sacred cows of the church, government, family, sex and marriage on the TV barbecue, leaving charcoal remains in their stead. Potter was a genius and with Last Night of the Proms, Pemberton and Shearsmith match him for bravado in deconstructing human nature and what it means to be British. Set in a well-to-do, middle-class household, a family of three generations sit down to watch the Last of the Proms on the BBC. It’s a big traditional classical music event and cultural celebration of what it means to be British. It makes me sick! Britain isn’t great. The British are racist, imperialistic and hardy murderers, who have a history and present (fucking Brexit!) they should be ashamed of. The thought-provoking screenplay here is heavy on compelling themes, memorable imagery and striking symbolism. This is a jarring and messy episode and what it lacks in precise plotting it more than makes up for in juxtaposing horror, satire, drama, surrealism, Jesus, social commentary and comedy to rather mesmerising effect. Potter’s ghost would have watched with glee and disgust and hate and love and pity and sadness; which is much how I felt witnessing Last Night of the Proms.

Mark: 9 out of 9

BFI, Cinema, horror, Reviews

THE HORROR OF IDENTITY: DOUBLE BILL FILM REVIEWS – DEERSKIN (2019) & POSSESSOR (2020)

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THE HORROR OF IDENTITY: DOUBLE BILL FILM REVIEWS – DEERSKIN (2019) & POSSESSOR (2020)

“Be yourself; everyone else is already taken.”-Oscar Wilde

We’ve all wanted to exist outside our own skin. Or perhaps inhabit someone else’s? Or, maybe even change our own identity, both literally and psychologically. Or is that just me? At the least we have all thought about it. Even losing weight and going down the gym or giving up alcohol or changing our hairstyle is a means of basic transformation. We may make a more defiant change and leave that job we hate or break out from a negative relationship. Arguably though, personality, attitude and mental changes in one’s life are the most difficult. After all, it is incredibly difficult to change the very fabric of one’s personality or character.

We can find an alternative source of transformation in a vicarious sense through storytelling mediums such as literature, television and cinema. The horror genre especially is replete with monstrous visions of identity switches, psychotic breakdowns and physical transmogrification. I personally take great pleasure in seeing altered identities occur on the screen and am especially drawn to characters who experience mental and corporeal metamorphosis. That simply isn’t because I cannot change who I am or what I do on a daily basis, but it’s quite scary to attempt to reshape one’s existence and identity. It’s bloody hard work without much guarantee of success. Horror films, while also frightening when done well, are far more satisfying and give a more immediate hit than the grind of reality.

Two films I have seen recently both relate to mid-life crises and exhibit themes that illustrate two characters changing their appearance to bring about a shift in identity, behaviour and personality. They also show characters spiralling out of control in incredibly violent, bizarre and entertaining ways. Those films are Deerskin (2019) and Possessor (2020) and here are my reviews.

*** MAY CONTAIN SPOILERS ***

DEERSKIN (2019)

Directed and written by Quentin Dupieux

Main Cast: Jean Dujardin, Adele Haenel

Have you ever seen the film Rubber (2010)? It is a gonzo horror-comedy about a murderous-tyre called Robert killing birds and people with telekinetic powers. Beneath the insanity of the pitch there is in fact a subtextual satire on the nature of Hollywood filmmaking and an audience starved of originality; I think! It came from the mind of Quentin Dupieux, so I was intrigued that he had nabbed for a subsequent production the grand talents of Jean Dujardin and Adele Haenel for the obsidian killer comedy, Deerskin (2019).

Dujardin is Georges, a middle-aged loner, recently dumped by his wife whose only aim now it appears is to purchase a deerskin jacket. Buoyed by the confidence the jacket has given him, and armed with a video camera thrown in with the deal, George plots up at a rural hotel and befriends Adele Haenel’s bar server and enthusiastic film editor. Their budding friendship threatens to turn this into a relatively conventional love story, however, a series of twisted turns tip the story into a hilarious series of murderous set-pieces, with Georges determined to get money to make a movie, but most importantly buy deerskin trousers, hat and gloves.

The story of a middle-aged man altering his outer look in order to transform his life and fortune is a staple of Hollywood comedies and romance films. Deerskin (2019) is that kind of film on the surface. Yet when filtered through Dupieux’s iconoclastic imagination the premise is an altogether different kind of demented animal. Ultimately, it is a low-budget gem of a black comedy with some fantastic ideas and fascinating character study of a man attempting to shift skin, but falling deeper and deeper into psychopathy. It’s a wacky journey with committed performances, yet, it felt like the ending was just too sudden, as if the filmmaker either ran our of money or just wanted to screw with audience expectations right up until the final sudden frame.

MARK: 7.5 out of 11

POSSESSOR (2020)

Directed and written by Brandon Cronenberg

Main Cast: Andrea Riseborough, Christopher Abbott, Sean Bean, Tuppence Middleton etc.

Whereas Deerskin (2019) finds a literal and figurative metamorphosis when a character buys a jacket, Brandon Cronenberg’s vicious horror film, Possessor (2020), is an altogether more cerebral, violent and psychologically stunning journey. Andrea Riseborough is as intense as ever portraying an assassin named, Tasya Vox, who through some incredible technology is able to inhabit the mind and body of another individual and use them as a human puppet to commit murder. It’s a perfect set-up for the assassination agency led by Jennifer Jason Leigh’s handler, Girder. Yet such murder by scientific proxy comes at a cost to Vox’s family life and mental stability.

After a glorious opening scene featuring an astoundingly brutal stabbing, Vox attempts to reconnect with her partner and son, but finds herself becoming ever more disconnected. The pressure of taking over another individual’s identity is causing Vox to discombobulate as her mind begins to fracture. Despite this she takes the next job, a contract to kill John Parse (Sean Bean), using Christopher Abbott’s Colin Tate as a conduit. As Vox struggles with her splitting psyche, Tate himself is having personal issues also and this leads to some mind-bending and psychedelic montage scenes as the two battle within Tate’s brain. If this all sounds a bit weird, it is and it isn’t because the filmmaking is of such a high quality one believes the process. Further, the director never loses his grip on the narrative and Cronenberg gets a compelling performance from Abbott as his character confronts the invasion into his soul.

Overall, Possessor (2020) has a stunning concept at its heart but I just kept wondering how a genre filmmaker like Leigh Whannell may have handled the idea. He certainly would have made the characters more empathetic because it is so tough to warm to either Vox or Tate. Indeed, Tate’s character should have been developed more at the beginning in my view as he would have made an ideal “innocent/wrong man” type character so often used by Hitchcock. Nonetheless, Brandon Cronenberg has crafted one of the most visually impressive and shocking psychological horror films I have seen in a long time. Like Whannell’s Upgrade (2018), it contains some memorable gore and violence. It is also very intelligent as the fantastic ideas explore what it means to not only inhabit another person’s skin, but rip through their very soul.

Mark: 8.5 out of 11

Cinema, Six of the Best

SIX OF THE BEST #32 – CINEMATIC STATEMENTS OF INTENT!

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SIX OF THE BEST #32 – CINEMATIC STATEMENTS OF INTENT!

This is a dive into the world of punchy dialogue that sums up a film or character or a relationship in a few key words. Because sometimes you just don’t want to think and sometimes you don’t want subtle hints to a character’s intentions. On occasions you want the whole plot and cinematic situation summed up succinctly and in an emotionally impactful way. I like ambiguous or complex characters, but from time to time I just gots to know, in a few words, what the character wants or their plans or capabilities. How do they do that? Well, through a good old-fashioned statement of intent.

I would categorise a statement of intent as generally involving the words “I” or “me” and has a character telling another character or group, plus the audience, what they intend to do or how they feel about a particular moment in their life. Or indeed their life as a whole. There is no ambiguity, but rather a direct proclamation of where the character stands and what he or she wants. Actually, I should say this is an extremely masculine list, but la-di-da, it is what is and so it goes. Thus, here are six of the best, of what I call statements of intent from film.

*** CONTAINS SPOILERS ***

QUINT – JAWS (1975)

“I’ll catch this bird for yer – but it ain’t gonna be easy. . . bad fish!”

One of the great character introductions of all time and an incredible statement of intent too. In a way Quint did catch the “bird”, but that big bird caught up with Quint too! What a speech! What a film!

HOWARD BEALE – NETWORK (1976)

“I’m as mad as hell and I’m not going to take this anymore!”

Acclaimed playwright Paddy Chayefsky arguably wrote one of the greatest cinema speeches of all time with Peter Finch’s newscaster, Howard Beale, reaching the end of his tether with society and life! The saddest thing about this statement of intent is that NOTHING has changed – the world is still nuts and it gets crazier by the day!

T101 / T800 – THE TERMINATOR (1984)

“I’ll be back!”

Sometimes three simple words can say more than a lengthy monologue, as James Cameron and Arnold Schwarzenegger combined to amazing impact in this classic sci-fi action film! Arnie lived up to his promise too, coming back again and again in a series of sequels and prequels and, aside from Terminator 2: Judgement Day (1992), rarely equalled follow-up films.

MARTIN RIGGS – LETHAL WEAPON (1987)

“Do you really wanna jump… Well, that’s fine by me!”

Amidst all the mullets, bullets and B-movie baddies of Shane Black’s over-the-top 1980’s script, there is in fact a moving buddy relationship in here too. There is also a compelling character arc of a suicidal man finding a reason to live through an adopted family. Mel Gibson’s Riggs has so many great scenes to demonstrate his wild-man acting style and the “jumper” scene is probably the best of them.

HAWKEYE – THE LAST OF THE MOHICANS (1992)

“You stay alive no matter what occurs – I will find you!”

This statement of intent comes later than they usually might in a film. But, under the fall of water and with the majestic score swelling Daniel Day Lewis’ Hawkeye powerfully declares his love and intentions to Madeline Stowe’s Cora Munro in Michael Mann’s incredible romantic war drama.

BRYAN MILLS – TAKEN (2008)

“I have a particular set of skills… I will look for you. I will find you. And I will kill you!”

Despite the xenophobic undertones within Pierre Morel and Liam Neeson’s rapid-paced action thriller, it does have one of the most iconic statements of intent in recent film history. Neeson delivers it brilliantly and what’s great is he does find the kidnappers and he does kill them! Just like he said he would! Nothing I like more than a man who keeps his word!

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

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MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

“Essentially, I’m untrained, so I just go with my imagination and try to put myself as solidly as I can into the shoes of whatever person I’m going to be playing.” — Christian Bale

It’s easy to forget that Christian Charles Philip Bale was only thirteen years old when he was chosen out of thousands of young actors for a starring role in Steven Spielberg’s war drama, Empire of the Sun (1987). From there on in he has become one of the most formidable actors of a generation. Unlike many young actors he has not fallen by the wayside, but rather delivered a series of tour-de-force and award-winning performances in both independent and big budget Hollywood blockbusters.

So, for my occasional look at the major talents of cinema I have turned to one of the greatest actors of the last twenty-something years, and chosen five of his best roles to illustrate that. An intense and natural talent he has been in many outstanding films and some not so good. However, whatever role Christian Bale chooses he is usually never less than powerfully magnetic. I must say, I have not selected any of his portrayals of Bruce Wayne and that very fine Batman performance, notably from a physical perspective. Even though in, Batman Begins (2005), he created a stirring existential vision of a wealthy child growing out of grief into the dark saviour of Gotham City. I just think he has given five better acting transformations on screen. Here they are.

***CONTAINS FILM SPOILERS***

AMERICAN PSYCHO (2000)

Having tread water in a career-sense attempting to traverse the difficult bridge from child actor to the leading man we have come to know, Christian Bale got a break in Mary Harron’s adaptation of Bret Easton Ellis’s notorious novel, American Psycho. And boy – did he make the most of it! I watched the film again recently and I have to say, other than perhaps Leonardo DiCaprio (who was originally cast in the role), no other actor could have delivered such an unhinged, evil and funny (yes he’s hilarious) portrayal of the Wall Street banker-turned-serial killer, Patrick Bateman. It’s a dangerous and sick character who Bale somehow manages to make you despise, yet simultaneously humanise.

THE MACHINIST (2004)

Possibly the greatest Christian Bale performance that hardly anyone has seen. Oh you have seen it? Wow, what an intense performance Bale gives as lonely blue collar worker, Trevor Reznik. Reznik is a haunted man who cannot sleep. He is also anorexic as Bale reduced his weight to 62kg for the role, demonstrating, not for the last time, a dangerous method of obsessive physical transformation. It works too as the skeletal Reznik struggles to overcome a slow descent into madness, with Bale, once again, showing incredible commitment to his craft in this under-rated and haunting noir nightmare of a film.

THE FIGHTER (2010)

While Mark Wahlberg was excellent as the lead actor in David O. Russell’s profile of tough Massachusetts fighter, Micky Ward, Bale absolutely steals the thunder with an incredible acting performance as Ward’s half-brother, Dicky Eklund. As a study of the nefarious curse of addiction, Bale makes the charismatic, but unreliable, Ekland both a loathsome and somehow empathetic character. Because while his crack cocaine addiction drives him to make bad choices for both him and his brother, there is at his heart a loving person battling to win over his illness and make his brother a champion. A story about family and human beings overcoming the odds, Bale punches out another memorably flawed individual in The Fighter (2010), deservedly winning an Oscar in the process.

HOSTILES (2017)

This revisionist Western did not get nearly enough attention on release. Yet buried in here is another quietly intense acting performance from Christian Bale. His other Western, 3:10 to Yuma (2007) is the more entertaining film, but in Hostiles (2017), he gives a much more complex characterisation as Captain Joseph Blocker. The weight of guilt and pain and death hang heavy on Blocker following years of brutal conflict. Scott Cooper’s film conveys the depressing murderous times borne out of the greedy need for progress. Hatred and white man’s guilt drives his character as Bale’s soldier initially refuses to take Chief Yellow Hawk back to his homeland. Is it more because of the deaths of his own men on the battlefield or because he does not want to face up to his own crimes against the Native Americans? The film explores this question superbly with Bale at the heart of the conflict from savage beginning to bloody end.

VICE (2018)

While I agree with critics of Vice (2018), that it is cartoonish and simplistic, it is also a brilliant and scabrous work of satire. Yes, sure it’s preaching to the liberal and left-winged Hollywood choir, but it definitely presents a fascinating snapshot of Dick Cheney’s rise from alcoholic wastrel to powerful political figure. I mean let’s face it, Cheney, based on his reign in U.S. politics, is arguably one of the most dangerous men who ever existed. In Adam Mckay’s black political comedy Cheney is shown to be a manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart one of the most shadowy political figures of recent years. But what about, Bale? Why take a role where he had to live on doughnuts for year to gain the weight required for the film? Well, because he likes to challenge himself and Bale should have won the Best acting Oscar! Rami Malek was decent as Freddie Mercury, but Christian Bale is astonishing. Fair enough, he takes a real person and delivers an emulation performance, but he also brings to Cheney to life with such intelligent style. Of course, the physical transformation takes the headlines, but in terms of emotion and mentality he really raises the bar. Cheney may be an enigmatic character but Bale brings menace, whispers and evil to the role. There is also a sly humour there too which makes Bale’s Cheney another unforgettable monster he’s brought to the screen.

Cinema, Classic Movie Scenes

CLASSIC MOVIE SCENES #14 – RAIDERS OF THE LOST ARK (1981) – GUN VERSUS SWORD!

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CLASSIC MOVIE SCENES #14 – RAIDERS OF THE LOST ARK (1981) – GUN VERSUS SWORD!

Directed by: Steven Spielberg

Produced by: Frank Marshall

Screenplay by: Lawrence Kasdan

Story by: George Lucas, Philip Kaufman

Cast: Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, Denholm Elliott etc.

Music by: John Williams

Cinematography: Douglas Slocombe

*** CONTAINS MASSIVE SPOILERS ***

It’s Saturday morning in London, so what better than to conjure up memories of classic weekend film entertainment. Because I recall, one Saturday, watching the monumental adventure classic, Raiders of the Lost Ark (1981), when I was eleven at the ABC Cinema in Fulham with my nine-year old brother. Nothing like a great film to bring back happy memories. After the film ended, we were exhilarated and hungry. We decided that rather than spend our remaining money on bus fare, we’d prefer to walk home to Battersea and share a bag of chips in the rain.

The three mile walk lasted no time at all as we were full of excitement about the incredible film we’d just witnessed. Gigantic rolling balls, snakes in cockpits, treacherous monkeys, villainous Germans, a hard-drinking heroine, unforgettable fights, shootouts, chase scenes galore, and a whip-cracking, charismatic, never-say-die archaeology Professor as our leading protagonist. Those Nazis never stood a chance chasing the ultimate McGuffin in the lost Ark of the Covenant.

With a film like Raiders of the Lost Ark (1981), you essentially have one classic scene after another. So much so you could do a top twenty easily. I have chosen to focus on an earlier middle act chase sequence which ends with one of the greatest punchlines ever committed to celluloid. Indiana Jones (Harrison Ford) is chasing baskets around the marketplace searching for Marion (Karen Allen). It’s an incredibly well directed and edited scene. Moreover, it’s funny, exciting and full of twists; including that darned monkey! John Williams music is utterly wonderful to boot. Mid chase Indy is faced with a swordfighter from his pursuers. The fighter displays an amazing set of skills and we wonder how our hero will escape certain death. Well, Indy just shoots him!

The story goes that a massive battle was planned but Harrison Ford had food poisoning, thus the scene was rewritten. Thus, movie magic was conjured, not from expert planning, but from having dodgy guts! They should have stuck to sharing a bag of chips. But then we wouldn’t have this amazing end to a magnificent movie sequence.

Amazon Prime, Reviews, Television

AMAZON PRIME REVIEW -PREACHER (2016 – 2019) – S1-S4

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AMAZON PRIME REVIEW – PREACHER (2016 – 2019) – S1-S4

Based on: Preacher by Garth Ennis, Steve Dillon

Developed by: Sam Catlin, Seth Rogen, Evan Goldberg

Writer(s): Sam Catlin, Steve Dillon, Garth Ennis, Evan Goldberg, Seth Rogen, Mary Laws, Olivia Dufault, Carolyn Townsend.  Sara Goodman, Craig Rosenberg, Mark Stegemann, Gary Tieche, Rachel Wagner, Kevin Rosen, Jim McDermott, and many more.

Director(s): Michael Slovis, Evan Goldberg, Seth Rogen, Wayne Yip, Sam Catlin, Michael Morris, John Grillo, Kevin Hooks, Laura Belsey, Iain B. MacDonald, Jonathan Watson, and many more. 

Cast: Dominic Cooper, Joseph Gilgun, Ruth Negga, Lucy Griffiths, W. Earl Brown, Derek Wilson, Ian Colletti, Tom Brooke, Anatol Yusef, Graham McTavish, Pip Torrens, Noah Taylor, Julie Ann Emery, Betty Buckley, Mark Harelik, Tyson Ritter, and many more.

Cinematography: Bill Pope, John Grillo

Composer: Dave Porter

No. of seasons: 4

***CONTAINS TRACE SPOILERS***

Ever wanted to know who would win in a fight between Hitler and Jesus? Well, if you desire the answer then watch all four seasons of AMC’s graphic novel series adaptation, PREACHER. Because that is just one of the insane scenarios which ultimately rewards viewers who love controversial, violent and irreverent representations of holy, historical and fantastical characters.

Developed by Hollywood players Seth Rogen and Evan Goldberg, along with BREAKING BAD screenwriter, Sam Catlin, this darkly comedic post-modern vision of heaven, Earth and hell is based on the devilishly imaginative work of Garth Ennis and Steve Dillon. Starring the charismatic Dominic Cooper as hard drinking and former career criminal-turned Preacher, Jesse Custer, the first season finds him losing faith in a small Texan town and a dwindling set of hopeless parishioners. That is until one day he is struck by some twisted divine interpretation. Then, literally, all hell breaks loose as Custer battles his inner demons and the local slaughterhouse baron portrayed with callous joy by Jackie Earle Haley.

Like another Amazon Prime release, THE BOYS, I initially found PREACHER a little bit slow in terms of setting up the story and characters. But I think that was deliberate as there are so many crazy concepts relating to religion, angels, demons and the afterlife in here, a balance had to be given to combining the fantastic and more realistic elements. I’m not sure they’re wholly successful but there’s enough riotous and bloody anarchy to keep horror and comic book fans happy. Cooper is great as the anti-heroic holy man. Moreover, he is ably supported by the effervescent Ruth Negga as his tough-talking, fist-fighting and gun-toting ex-girlfriend, Tulip. English actor Joseph Gilgun arguably steals the show as Cassidy, the Irish sidekick with a dark secret. While the narrative moves slowly in the first season, the bloody gore levels during the fight scenes are absolutely spectacular. It was this and the litany of fascinating concepts relating to religious icons which kept my interest piqued.

Season 2 picks up the pace when Custer, Tulip and Cassidy go to New Orleans and literally try to find God. Here they encounter their major nemeses for the remainder of the series in, the damned Saint of Killers (Graham McTavish), and a nefarious group of Catholic fascists called The Grail. Further, Season 3 is arguably the strongest of the series as Jesse goes back home to fight the demons of the past, notably his grandmother, Madame L’ Angelle (Betty Buckley). She has done deals with Satan and happens to have put a deathly spell on Custer’s soul. This season is particularly hilarious because Cassidy meets a fellow creature of the night in New Orleans with bloody hilarious results. Lastly, in season 4, all of heaven and hell implodes as The Grail attempt to precipitate God’s planned apocalypse and only Jesse, Tulip and Cassidy can stop them. These series summations cannot begin to even touch the surface at the insanity of ideas and action on show. If you like your television safe and inoffensive, then DO NOT WATCH IT!

If, like me, you enjoy irreverent bible-black comedy which offends mainly Christian religions and contains lashings of ultra-violence, then PREACHER is definitely one to venture to the church of television for. There is not a lot of internal logic as the narrative chucks in the proverbial theological kitchen sink. Representations of angels, God, Jesus, Hell, Heaven, Satan, devils, vampires, and various other religious figures are all par for the course for the show. While the iconography, action and visual power of the series is a major strength, the core story of Jesse Custer searching for God was essentially a very loose structure with which to hang the many spectacularly crazy, violent and bad taste ideas on. However, I am glad I had the faith to witness such events because I was very entertained and ironically it made me believe more in God than any visit to a church has ever done. Because in PREACHER, this vision of God was extremely human and flawed and somehow more believable.

Mark: 9 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: TENET (2020)

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CINEMA REVIEW: TENET (2020)

Directed by: Christopher Nolan

Produced by: Emma Thomas, Christopher Nolan

Written by: Christopher Nolan

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Michael Caine, Kenneth Branagh, Martin Donovan, Clement Poesy, etc.

Music by: Ludwig Göransson

Cinematography: Hoyte van Hoytema

***MAY CONTAIN SPOILERS***

I am writing this review from the future while travelling backwards to the past to try and alter events which have yet to occur in the present. Confused yet? Jokes aside, Christopher Nolan’s latest temporally challenging and narratively inverted blockbuster, TENET (2020), is actually not as complicated as some would lead you to believe. However, that’s because I’ve been training my brain with such mind-boggling adventures in time, space and dimensions while watching the third season of the ingenious German sci-fi drama, DARK (2020), this week. Safe to say however, TENET is still rather complex and probably unnecessarily so. Yet, Christopher Nolan is a filmmaker who loves exploring challenging scientific concepts and marrying them to hugely involving plots and stylish spectacular action. All credit to him too for pushing himself and the audience!

TENET opens with a fast-paced set-piece located at a Ukrainian opera house. A SWAT team, that includes our unnamed hero, (John David Washington), is there to save a spy and obtain an unidentified object, which will of course become an integral part of the plot later or earlier on in the story. From then on, ‘The Protagonist’, as he later becomes known, becomes embroiled in stopping the megalomaniacal plans of Russian oligarch, Andrei Sator (Kenneth Branagh). In order to do so he attempts to infiltrate and stop Sator via his bullied wife, Kat (Elizabeth Debicki). Here the Protagonist builds a bond to Kat and this provides the emotional glue of the film. Although, I’ll be honest, I was too busy thinking about the machinations of Nolan’s head-twirling approach to temporal structure, than actually feel much for the characters.

What the film lacks in emotional depth it more than makes up with spectacular action. There are at least six incredible set-pieces that involve hand-to-hand combat, fast-paced vehicle pursuit, bungee-jumping and all-out combat between various government and mercenary factions. Nolan and his production team twist the action with a visually mirrored trick which, well I won’t say anymore. Moreover, the grandiose style and cinematography are eye-popping. Sharp suits, sharper knives and futuristic masks are adorned by the characters giving the spy thriller a hyperreal edge. Similarly, the stunts and editing are superbly orchestrated and executed. Having said that, the sound design and dialogue could have been better. Far be it from me to criticize, but in striving for verisimilitude in the sound, the constant wearing of masks meant important dialogue lacked clarity. Likewise, in the final amazing set-piece I was lost amidst the bodies and explosions as to who was who and why and what and how. Clearly a second and third watch of TENET (2020) is in order.

While the action was pretty much flawless throughout, the screenplay, unlike say Nolan’s prior high-concept masterpiece, INCEPTION (2010), did lack character depth for me. While I realise this was Nolan’s intention, hardly any time is given setting up the characters. So much so they become cyphers within the plot. Nonetheless, the charisma of the cast, notably John David Washington and the impressive Robert Pattinson, dominates the screen and the two bounce off each other magnetically. Elizabeth Debicki and Kenneth Branagh also bring much to their roles, however their subplot involving domestic abuse felt out of place in such a post-modern spectacle. Moreover, Branagh’s oligarch was, in certain scenes, verging on parodic cliche. I wondered if the villain of the piece could have been a little less B-movie heavy at times and possibly more cultured. This is a minor gripe though. After all, he is the bad guy!

Ultimately, TENET (2020) is a big, brash and confident Bond-type film with bells on. Sure, the rules of the world could have been excavated and presented somewhat clearer. But, Nolan favours a breakneck pace and be damned if you cannot keep up. Indeed, I am certain he has covered all the plot-holes (or paradoxes) I thought I saw and numerous questions I had by the end. While it is not without flaws, on first watch, I once again have to congratulate Christopher Nolan for striving for original thinking and fascinating concepts within a genre film. One may even argue that there are too many ideas here and simplification could have created a more emotionally satisfying film. However, there are many moments of cinematic genius in TENET (2020), notably in the Sisyphean payoffs within the inverted plot structure. Finally, one won’t see a more shiny and beautiful looking film all year. The future is bright: the future is Christopher Nolan.

Mark: 9.5 out of 11

Amazon Prime, Cinema, Reviews

AMAZON PRIME FILM REVIEW: 7500 (2020)

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AMAZON PRIME FILM REVIEW – 7500 (2020)

AMAZON PRIME REVIEW – 7500 (2019)

Directed by: Patrick Vollrath

Produced by: Maximilian Leo, Jonas Katzenstein

Screenplay by: Patrick Vollrath

Cast: Joseph Gordon-Levitt, Omid Memar, Aylin Tezel, Carlo Kitzlinger, Murathan Muslu, Paul Wollin etc.

Cinematography: Sebastian Thaler

***MAY CONTAIN SPOILERS***

I am bona fide confirmed aviophobe. Even the merest sight of a plane in the sky gives me the shivers. I imagine it’s a mixture of not being in control, lacking consistent flight experience and the pure fact that when one is that high up there is little chance of escape if anything goes wrong. Personally speaking, I think it’s an extremely rational fear. While I have flown on a plane a few times, if it means never flying again, I am genuinely happy to holiday in my own country for the rest of my life. Bearing this is mind, films that are set on a plane have a head start in increasing the tension I feel watching them. Indeed, good examples of cinema releases with heavy doses of airborne drama include: United 93 (2006), Flight (2012), Sully (2016), Passenger 57 (1992) and Red Eye (2005) etc. Just the mere thought of these, and the spectacular plane crash in Knowing (2006), are enough to have me reaching for the vodka and Valium.

The 2019 action-thriller, 7500 is a worthy addition to such aeronautic movies. Written and directed by Patrick Vollrath, in his directorial feature-length film debut, 7500 stars Joseph Gordon-Levitt as pilot, Tobias Ellis. He joins the Captain on a standard city flight from Berlin to Paris and soon after take-off the crew and passengers on the plane find themselves attacked by hijackers. What follows is a claustrophobic, suspenseful and deadly set of events which push Tobias, and passengers, to the brink of death and back again. Aside from a few establishing CCTV shots of Berlin, virtually all of the action takes place inside the cockpit of the plane. The camera therefore is right up in the face of Joseph Gordon-Levitt throughout the film. Thankfully, he is a seasoned actor and gives a fine performance that runs the gamut of emotions.

One-location thrillers can be hard to pull off, however, the director Patrick Vollrath manages to build the suspense expertly through a good pace and many suspenseful moments. Indeed, when the hijackers were trying to smash their way into the cockpit, my heart was firmly in my mouth. To be honest, my heart began beating loudly even on take-off. Keeping the action to mainly the cockpit allows a real sense of claustrophobia and anxiety to build. We are right in the perilous mix with Tobias and Gordon-Levitt plays the everyman-in-danger to perfection. My main criticisms of the script really lay in the characterisation of remaining characters, especially the villains. It’s a shame the script did not explore their motivations above the cardboard terrorist personalities represented. However, as a singularly committed one-location-individual-in-crisis genre story, 7500 takes off and rarely threatens to crash.

Mark: 8 out of 11