Tag Archives: Sci-fi

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

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 REVIEW: A QUIET PLACE PART II (2021)

CINEMA REVIEW: A QUIET PLACE PART II (2021)

Directed by: John Krasinski

Produced by: Michael Bay, Andrew Form, Brad Fuller, John Krasinski

Written by: John Krasinski

Based on characters created by Bryan Woods and Scott Beck

Cast: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou and John Krasinski

Music by: Marco Beltrami

Cinematography: Polly Morgan

*** MAY CONTAIN SPOILERS ***



Ah, the difficult second album. Well, how do you follow up a genuine classic horror thriller such as A Quiet Place (2018)? I mean, it had everything, including a simple but devastating premise and an imaginative set of rules for the monstrous dangers facing the Abbott family. With hardly any fanfare or major marketing campaign the original film really got audiences flexing their “word-of-mouth” muscles. Throughout  A Quiet Place (2018) my heart was literally living in my mouth, as my fingers and knuckles clenched and whitened during the whole tense escapade. Plus, Emily Blunt and John Krasinski’s “every-couple” and their three children brought a believable humanity to the characters, with Blunt especially on phenomenal form in her reaction and character work.

The sequel opens with a prequel sequence which illuminates how the world descended into chaos. Sadly, and not surprisingly, we only get a short time with John Krasinski’s action-dad, Lee Abbott, before he dives back behind the camera to direct this rattlingly good and highly tense horror/sci-fi mash-up. Thus, the weight of part two is left with Emily Blunt, Millicent Simmonds and the less effective, Noah Jupe character. Once again, the trio, plus baby, rely on dead silence in an attempt to remain uneaten by the blind-but-deadly alien creatures hellbent on making Earth’s inhabitants lunch. Along the way they bump into an apparent loner, Emmett, portrayed by Cillian Murphy. His jaded, shell of a man, hides a tragic secret and the last thing he wants is other people around to attract more devourers.



The story develops as the relationship between the Abbott’s and Emmett, while initially distrusting, becomes less hostile. However, he still wants them gone, much to Emily Blunt’s frustration. After all, any good mother wants to protect her children, as evacuating the factory setting could mean certain death. I have to admit I felt Emily Blunt’s major acting talents were not as well utilised as the first film. Indeed, it was Simmonds’ character, Regan, who had more development and heroic moments. It is Regan who is determined to discover a way out from the dark recesses of the filthy basement and clanking pipes. She may be foolhardy to some, but Regan has guts and makes important life-changing decisions for her family. Simmonds is compelling as she gives another mature performance in the role.

Overall, A Quiet Place – Part 2 (2021) is not as much as a surprise as the original film. How could it be?! I mean we now know what defeats the monsters, yet that doesn’t stop them being fierce predators and foes. Moreover, the use of sound design that was so brilliant in the first film is presented equally superbly in the sequel. While the film lacks for a decent plotline, as anyone who has their fill of zombie apocalypse films could testify, there remains some incredibly exciting chases and well directed set-pieces. Krasinski clearly had the Spielberg playbook to hand and that is certainly not a criticism, because I think he is definitely a talent to keeps tabs on. Thus, as my first film back at the cinema after yet another lockdown, I can definitely recommend A Quiet Place – Part 2 (2021), to take one’s mind off the horrors of real life for ninety-odd pulsating minutes.

Mark 8.5 out of 11


TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

Based on Star Trek & Created by: Gene Roddenberry

Season 5 writers (selected): Michael Piller, Michael Wagner, Rick Berman, Jeri Taylor, Lee Sheldon, Melinda Snodgrass, Richard Manning, Ronald D. Moore, David Bischoff, Joe Menosky, Drew Deighan, Brannon Braga, J. Larry Carroll, Hilary J. Bader, Harold Apter, Stuart Charno, Sara Charno, Maurice Hurley, Susan Sackett, Sara Charno, Stuart Charno, Randee Russell, Peter Allan Fields, Rene Echevarria etc.

Season 5 directors (selected): Jonathan Frakes, Winrich Kolbe, Corey Allen, Robert Weimer, Les Landau, Robert Scheerer, Cliff Bole, Paul Lynch, Chip Chalmers, Timothy Bond, David Carson, Gabrielle Beaumont, Patrick Stewart, David Livingston, Marvin V. Rush, Chip Chalmers, Peter Lauritson, Robert Lederman, Paul Lynch, etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Wil Wheaton, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, plus guests: Matt Frewer, Ashley Judd, Kelsey Grammer and Famke Janssen etc.

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

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****



I have just finished boldly watching Season 5 of STAR TREK: THE NEXT GENERATION and it was an extremely excellent raft of science fiction television episodes. I have to say though that TWENTY-SIX episodes was a hell of a lot of TV to produce. I know they had big budgets and an army of staff working on the show, but to produce such high quality viewing, albeit within the established formula, is overall incredibly impressive.

Season 5 was up there in consistency of quality writing, acting and directing with the superlative Seasons 3 and 4. Once again the creatives and storyline team explored issues of the day (i.e. 1990s) and married them to the STAR TREK values and philosophies. Of course, we get the usual alien enemies, such as the Romulans and Ferengi, paying a visit to the Enterprise. Yet, we also found new foes, obstacles and allies encountering the Enterprise. Lastly, the formidable Michelle Forbes as the Bajoran, Ensign Roe, was a welcome addition to the crew.

Sadly, Gene Roddenberry passed away during this particular season’s making. This would cause create sadness in the STAR TREK universe, but the production was, by now in very safe hands, as they paid fine tribute to their creator during Season 5. Here are SIX of the best episodes well worth visiting or revisiting. Live long and prosper.


REDEMPTION – PART II – EPISODE 1

The concluding part to the prior season’s cliffhanger found Lt. Worf (Michael Dorn) continuing to fight for honour alongside his brother, Kurn (Tony Todd), against the Duras hordes. There are many moments of high tension throughout the episode with Dorn impressing again as the divided, but ultimately united and redeemed Klingon. Overall, the episode is full of memorable plot turns and fantastic Romulan and Klingon villains, notably Lursa and B’Etor.

See the source image


UNIFICATION – PARTS I & II – EPISODES 7 & 8

Chosen more for nostalgia as opposed to stellar storytelling, UNIFICATION is a two-parter which sees the return of a famous Trek character, namely Spock (Leonard Nimoy). We also get Mark Lenard’s final appearance as Spock’s father, Sarek, as he and Picard (Patrick Stewart) share a thoroughly moving final scene together. The story finds Spock attempting to repair years of conflict between Vulcans and Romulans, however, Starfleet believe he has defected. Thus, Picard and crew attempt another search for Spock. The narrative pace is steady, nonetheless it is great to see Nimoy don the ears and ultra-logic for a further outing as Spock.


See the source image

CONUNDRUM – EPISODE 14

While STAR TREK: THE NEXT GENERATION had more than its fair share of emotionally powerful episodes, sometimes a fast-paced and twisting plot with a bit of space espionage was more than welcomed. In CONUNDRUM, the Enterprise crew have their memory wiped by an unknown force dedicated to destroying an alien race. The audience finds suspense and dramatic irony in knowing the crew’s minds have been tampered with as they race against time to prevent war. Riker (Jonathan Frakes) and Ensign Ro’s (Michelle Forbes) simmering sexual tension adds romance and humour to a packed storyline.


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CAUSE AND EFFECT – EPISODE 18

Easily one of my favourite TNG episodes of this and many a season. This is because it features a fantastic temporal-causality loop plot and extremely high stakes where the Enterprise is concerned. Here the crew are trapped in a perpetual time cycle where the end of it results in the destruction of the Enterprise. Essentially GROUNDHOG DAY (1993) in space (even though this episode came before that classic film), it truly fizzes along with a brilliant script and powerful drama. Kelsey Grammer also guests, adding to the overall quality on display.


See the source image

I, BORG – EPISODE 23

Could an evil machine ever be humanized? That is just one of the fascinating questions posed in this thoughtful and provocative episode? While they owe much to the Cybermen, the Borg remain a powerful weapon in the STAR TREK storytelling arsenal. The only problem is they are virtually invincible, so tough to write stories for. Rather cleverly in I, BORG, the episodes isolates a single unit and Picard, Guinan (Whoopi Goldberg) and La Forge (LeVar Burton) especially, confront their hatred and desire for revenge. As the Borg unit, or Hugh (an excellent Jonathan Del Arco) as he becomes known, spends time on the Enterprise he positively changes. This provides much to consider for the crew with their emotions shifting toward Hugh/the Borg.


I Borg Star Trek TNG HD.jpg

THE INNER LIGHT – EPISODE 25

Not only is this one of the best episodes of STAR TREK: THE NEXT GENERATION, but it is also one of the best episodes of STAR TREK ever. The story is precipitated by an unknown probe which scans the Enterprise and directs an energy beam at Picard, who wakes up to find himself on Kataan, a non-Federation planet. Here Picard attempts to escape his existence as Kamin, but over time he grows into this strange new life. What begins as a simple body swap plot, unfurls into something all the more emotionally grander. We know Patrick Stewart is a fine actor, but he imbues Picard/Kamin with a gravitas of enormous propensity. I also loved how Picard, the Captain, is humbled by a more domestic life full with life and love. Lastly, Jay Chattaway’s score is absolutely beautiful.


CINEMA REVIEW: TENET (2020)

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 REVIEWS FEATURING: THE BOYS (S1), THE EXPANSE (S1) and PREACHER (S1)

REVIEWS OF THE BOYS (2019), THE EXPANSE (2016) & PREACHER (2016)

So, we are now a few weeks into the lockdown scenario caused by the COVID-19 virus and I have been off work for around that amount of time too. Tragically people are dying, and we owe it to be responsible by continuing to follow the rules laid down that will prevent the spread of the infection. It’s tough for everyone including families, employees and businesses. The capitalist system has taken a massive hit, and some will not survive in terms of life and work. I am not a religious person, but I pray to everyone’s God, whoever that may be, society comes through this. We are digging tunnels, looking for light and an escape. It cannot come soon enough.

In terms of escape it has never been easier to find both the time and formats with which to fill the gap. Thankfully the internet is still up and running, thus I have been filling my time in — aside from some minor administrative work-from-home stuff — writing my film reviews, editing and posting short videos, exercising and watching quite a lot of television and film content. Anything to stop me from becoming a beer monster or functioning alcoholic – AGAIN! The latest focussed viewing has been of Amazon Prime, and the many boxsets they have. So, here are mini reviews of three shows I have seen recently. All with the usual marks out of eleven.

***MAY CONTAIN SPOILERS***



THE BOYS (2019) – SEASON 1 – PRIME VIDEO

Based on the comic book series created by Garth Ennis and Darick Robertson, this violent superhero comedy is the complete antithesis of the Marvel Universe. Taking savage satirical swipes at huge corporations and United States foreign policy, it features a group of vigilantes, led by Billy Butcher (Karl Urban) called ‘The Boys.’ For a variety of reasons, including good old-fashioned revenge, they have targeted the most powerful business in the world, Vought International. Vought control and monetize ‘The Seven’, a group of all-powerful superheroes who happen to mostly be narcissistic, unstable and psychotic arseholes.

The initial episodes started slowly for me and I found it difficult to warm to any of the characters. This could simply be superhero fatigue or certain weaknesses in the writing throughout. However, the spikes of tremendous action, vicious humour and spectacular violence kept me on board. Elisabeth Shue and Antony Starr impress as the nefarious villains, while Erin Moriarty shone as the one decent superhero, Starlight. The least said about the shockingly bad English accent Karl Urban delivers the better. I mean his acting is impressive, but mate – come on!!

Mark: 8.5 out of 11



THE EXPANSE (2015) – SEASON 1 – SYFY/AMAZON PRIME

Usually when I see something is on the Syfy channel I baulk slightly. I mean the shows are pretty decent as a rule, but some right old fantasy schlock can get dumped there. So, with a saturated streaming market offering a plethora of U.S. cable shows, sometimes the Syfy channel shows get short shrift. It’s a shame because The Expanse is a really good science-fiction programme which began airing on Syfy, but is now on Amazon Prime. The sci-fi show hangs tonally between Alien (1979), Blade Runner (1982) and the Philip K. Dick-style “Mars v Terra” stories I have read. Indeed, while it doesn’t contain actual aliens or Dick’s surreal explorations of the psyche, it is, in fact, a fantastically plotted and styled industrial, political and humanistic set of narratives.

Based on James S. A. Corey’s (a pseudonym I believe for two writers), The Expanse (Season 1), is set hundreds of years into the Earth’s future and space has been colonized. But it’s not a utopia. Mars, Earth and an outer-planetary system of space stations called ‘The Belt’ are all conflicted on the brink of civil or galactic war. The multiple narratives follow the likes of the always-excellent, Thomas Jane, as a grizzled cop investigating a missing person and a space freighter gang led by Stephen Strait. The latter’s crew go from episode to episode finding life-threatening situations throughout. It’s a space-rock solid production full of twists, action and conspiracies; retaining a cynical, noir and unglamorous edge which makes me want to watch further seasons.

Mark: 8.5 out of 11



PREACHER (2016) – SEASON 1 – AMC/AMAZON PRIME

Developed by Hollywood players Seth Rogen and Evan Goldberg, along with Breaking Bad writer, Sam Catlin, this darkly comedic post-modern vision of heaven and hell is based on a comic book by Garth Ennis (that man again) and Steve Dillon. Starring the very reliable Dominic Cooper as hard drinking and former career criminal-turned Preacher, Jesse Custer, we find 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 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 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, however, Cooper is great, and he is ably supported by the effervescent Ruth Negga as his tough-talking ex-girlfriend, Tulip. Moreover, English actor Joseph Gilgun steals the show as the Irish sidekick with a dark secret. While the narrative moves steadily, with arguably too many secondary characters, the bloody gore levels during the fight scenes are absolutely spectacular. If, like me, you enjoy irreverent bible-black comedy which offends most religions and contains lashings of ultra-violence, then Preacher is definitely one to pray to the lords of television for.

Mark: 8 out of 11 (but 10 out of 11 for the gore)

CLASSIC MOVIE SCENES #13 – BLADERUNNER (1982) – “TEARS IN THE RAIN.”

CLASSIC MOVIE SCENES #13 – BLADERUNNER (1982) – “TEARS IN THE RAIN.”

Directed by: Ridley Scott

Produced by: Michael Deeley

Screenplay by: Hampton Fancher and David Webb Peoples – based on the novel, Do Androids Dream of Electric Sheep by Philip K. Dick

Cast: Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, James Edward Olmos etc.

Cinematography: Jordan Cronenworth

Music: Vangelis

*** CONTAINS MASSIVE SPOILERS ***



Philip K. Dick’s dense, dystopic and futuristic novel, Do Androids Dream of Electric Sheep (1968), is an ugly, beautiful, depressing, obtuse, hypnotic skip-through-treacle read full of incredible concepts relating to: Artificial Intelligence; robot technology; android simulacra; animal husbandry; apocalyptic disease; virtual reality/empathy mood tech; extinguished humanity; and ultimately, of course, mortality and death. The fact that Hampton Fancher and David Webb Peoples were able to fashion a workable screenplay for Ridley Scott to direct is a creative miracle. Moreover, it is testament to the writing and Scott’s incredible production team that, Bladerunner (1982), is held in such high esteem among cinema fans now.

The original Bladerunnerdespite bombing at the box office and subsequently going through a number of cuts, re-cuts, final cuts and re-re-re-releases, has become a bona fide science fiction cinema classic. I watched the original theatrical version recently and despite the deadpan Harrison Ford voiceover and spurious, tacked on “happy” ending, it actually has a lot going for it. Obviously the ‘Unicorn Dream’ re-edits released under the guidance of Ridley Scott are the purer versions but the film holds up notably because of Ford’s gruff, depressive and world-weary performance as Rick Deckard; the imperious psychopathy of Rutger Hauer as android assassin Roy Batty; Scott’s glorious tech noir rendition of our desecrated future; as well as the evocation of Philip K Dick’s thematic existential power.

Such existential power is demonstrated in one of the final scenes where Batty has pushed Deckard to the edge of a building and death. The rain falls and the majestic soundtrack swells. A stripped down Batty, rather than let Deckard die, saves his life. It’s an ambiguous decision, but one of redemption for a replicant that is more used to delivering death. Perhaps, it proves that Batty does indeed have human qualities and Deckard will take up the cause. Delivering one final heartfound speech, Batty regales and laments the beautiful things he has seen. But they are gone – just like tears in the rain. It is a moving epitaph and amazing end to an incredible science-fiction classic. Batty closes down for good, but his demise and Hauer’s incredible performance will live long in the memory.


THE INVISIBLE MAN (2020) – MOVIE REVIEW

THE INVISIBLE MAN (2020)

Directed by: Leigh Whannell

Screenplay by Leigh Whannell – based on H. G. Wells The Invisible Man

Produced by: Jason Blum, Kylie du Fresne

Main cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen, Michael Dorman,

Music: Benjamin Wallfisch

Cinematography: Stefan Duscio

***MAY CONTAIN SPOILERS***



Many a work, home, pub, dinner party and school conversation has started with the following question: what would YOU do if you were invisible? Depending on the company it’s something that can descend into wild fantasy territory. Being invisible will allow you the freedom to spy and become the ultimate voyeur. You could also become a criminal and creep into places without being seen to thieve. You could be a prankster and play tricks on your friends and family. You could become a superhero, battle crime and help people. You could simply just disappear not just literally, but philosophically from society. The possibilities are endless.

H. G. Wells original novel is an absolute genre masterpiece. Arguably the most famous version was filmed in 1933 with incredible practical effects and an exceptional performance from Claude Rains. In this new version the conventional invisible scientist-goes-mad story is twisted successfully into an exhilarating horror suspense film with themes relating to toxic masculinity and abusive relationships. Here invisibility is used to control and instil fear, as the recently deceased Griffin (Oliver Jackson-Cohen) is, according to his ex-partner, Cecilia (Elisabeth Moss), targeting her from the grave.



Leigh Whannell has great experience writing and producing low-budget horror films including: Saw (2004) and Insidious (2010). His last directorial release, Upgrade (2018), was a fantastic mix of 1980’s B-movies, sci-fi and horror cinema. Building on the crowd-pleasing thrills of Upgrade, Whannell has crafted a paranoiac classic with Elisabeth Moss giving a fantastically nerve-shredding and physically adept performance. From the tense opening scene, we empathise with her desire to escape a controlling and malevolent force. Building slowly throughout the first act, Whannell’s script brilliantly picks up the pace and plots Cecilia’s descent into a living hell. Consequently, Cecilia’s anxiety reaches peak stress as no one believes she is being set up by a gas-lighting, unseen and venal monster.

It pays to see this film on the big screen with the finest sound quality available. I watched it on an IMAX screen where the sound design and Benjamin Wallfisch’s amazing score really enhance the fear-inducing visuals. How the production team made this film for a reported $7 million dollars is beyond me. Yet, Whannell is an economical and highly efficient filmmaker. His writing is lean and mean, as the script is full of fantastic set-pieces and plot reversals. Moreover, the story is very relevant, exploring the themes of the day relating to domestic abuse, depression and mental illness. However, it’s not an overbearing message movie, but rather a smart and surprising thriller.

Overall, The Invisible Man (2020) starts strongly and proceeds to deliver a series of gripping and, at times, heart-in-the-mouth cinematic moments. There are none of the usual scientific and over-expositional set-ups that can slow down such films. The visuals, sound, score and performances deliver the story most effectively. I felt like there were a few fuzzy plot moments that Whannell could have explained in more detail, however, that could have hindered the pace of the story. Finally, with Elisabeth Moss imbuing her character with resilience, energy and steel, we get an individual who will never give up. She sees through her ghosting nemesis and will fight to the last breath to prove her innocence and remain in control.

Mark: 9 out of 11


TO BOLDLY REVIEW #8 – STAR TREK: NEXT GENERATION (1989 – 1990)– SEASON 3

TO BOLDLY REVIEW #8 – STAR TREK: NEXT GENERATION (1989 – 1990)– SEASON 3

Based on Star Trek & Created by: Gene Roddenberry

Season 3 writers (selected): Michael Piller, Michael Wagner, Melinda Snodgrass, Richard Manning, Ronald D. Moore, David Kemper, Hannah Louise Shearer, Sam Rolfe, Robin Bernheim, Richard Danus, Ed Zuckerman, Joseph Stefano, Rene Echevarria, David Bischoff, Sally Caves, Susan Sackett, Hans Beimler, etc.

Season 3 directors (selected): Jonathan Frakes, Winrich Kolbe, Rob Bowman, Robert Becker, Les Landau, Robert Scheerer, Joseph L. Scanlan, Cliff Bole, Robert Legato, Tom Benko, Chip Chalmers, Timothy Bond, David Carson, Gabrielle Beaumont, etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Wil Wheaton, Gates McFadden, John De Lancie, Dwight Schultz etc.

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

Production Company(s): Paramount Television, CBS Television

**THIS REVIEW CONTAINS SPOILERS**



Thus, my ongoing viewing project of watching ALL the Star Trek series and films in order of release date continues. I have already covered the pro-genesis of STAR TREK: THE NEXT GENERATION here. So, I won’t cover the same ground again. With Season 3 we saw the return of Gates McFadden as Doctor Beverly Crusher, replacing the sterner virtues of Doctor Pulaski. Other than that, the established crew of the Enterprise were all present and correct.

The season as a whole continued, and even improved, the consistent qualities of Season 2. Indeed, there was a great balance between romantic, comedic, dramatic, tragic, action and sci-fi genre storylines. The appearances of Romulans, Klingons and the Ferengi further cemented their place in Star Trek lore. Yet, there was also space in the bumper twenty-six episodes for new species, beings and aliens to appear. Plus, not forgetting the return of that very formidable foe, The Borg.

I especially thought the narrative balance was very good throughout. All the Enterprise crew got episodes dedicated to their characters and a chance to shine individually and as part of the ensemble. We also got some fine guest appearances as new characters were introduced. Anyway, here are six episodes from Season 3 that I particularly enjoyed.


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THE VENGEANCE FACTOR – EPISODE 9

Here Riker finds himself romantically entwined as Picard attempts to broker peace between two factions hellbent on a blood feud. I enjoyed it because of the murder mystery aspect. Also, Jonathan Frakes impressed as Riker in the leading romantic hero role.


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THE HUNTED – EPISODE 11

This fast-paced and action-packed episode found the crew meeting their match, as they face off against a genetically enhanced soldier portrayed by Jeffrey McCarthy. With echoes of Universal Soldier (1992), the episode has emotional depth too because it explores the disregard of veteran soldiers by the ruling classes once war is over.


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YESTERDAY’S ENTERPRISE – EPISODE 15

The writers deserves a lot of praise for constructing such an imaginative and intelligent alternative-timeline narrative. A rift in space and time creates another version of the Enterprise. In this timeline war rages with the Klingons and moreover reveals Tasha Yar (Denise Crosby) to still be alive. Only Guinan (Whoopi Goldberg) senses something isn’t right and what ensues is a complex story; thoroughly enjoyable from both plot and emotional perspectives.


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THE OFFSPRING – EPISODE 16

One of the big story questions that hung over the series for me was: why didn’t they try and replicate Data in some way? This concept is explored in this very moving episode when he constructs another android called, Lal (Hallie Todd). Brett Spiner is on great form as Data faces a difficult choice,; having to choose between his “daughter” and Starfleet regulations.


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SINS OF THE FATHER – EPISODE 17

Any episode with Lt. Worf (Michael Dorn) as the lead protagonist is always intriguing. Here Worf must face potential death in defending his family honour against the Klingon High Council. Tony Todd appears as Worf’s brother and the chance to further explore Klingon culture amidst a conspiracy plot leads to a really good episode.


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THE BEST OF BOTH WORLDS – PART 1 – EPISODE 26

I can only imagine what emotions the Star Trek fans felt at the time when they witnessed Jean Luc Picard’s transformation into the Borg known as Locutus. In what must be one of the greatest cliff-hanger TV moments of all time, this episode had strong writing and incredible conflict. The addition of Elizabeth Dennehy to the crew of the Enterprise, as the ambitious and formidable, Lt. Commander Shelby, also added to the overall quality of this brilliant episode.


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MEMORABLE FILM CHARACTERS #1 – SARAH CONNOR

MEMORABLE FILM CHARACTERS #1 – SARAH CONNOR



**CONTAINS SPOILERS**


Having briefly explored what makes up film character personas in this article here, I thought it would be fun to start a new feature which looks at memorable film characters. So, with Terminator: Dark Fate (2019) in the cinema, I wanted to look at one of the greatest character narrative arcs ever in my opinion. When I say character arc, I am talking of the transformation of a character throughout a film or films. Because for me, the arc of Sarah Connor is absolutely brilliant.

I haven’t seen Terminator: Dark Fate (2019), as for me, the Terminator franchise is a spent force narratively speaking. I’m sure it’s a great spectacle, but I am more interested in speaking about James Cameron’s first two genre masterpieces. I am specifically intrigued by Sarah Connor movement from timid waitress to hardcore rebel fighter. Thus, Lena Headey and Emilia Clarke’s turns as the character are ignored here.



The genius of James Cameron’s original film The Terminator (1984) is how it is both simple and complex at the same time. It takes time travel tropes, which while very familiar today, were extremely fresh and exciting back in the 1980s. Mashing up ideas from literary science fiction, Star Trek , The Twilight Zone and films like Westworld (1973), Cameron gave us one of the greatest bad guys and heroines ever committed to film. Plus, he did it all on a $7 million budget!!

At the heart of the sci-fi, war and thriller genres is an intriguing character study and even a love story. The Terminator (1984) introduces Sarah Connor as a waitress who is having a bad day. It’s about to get worse. She has been murdered and it’s on TV. Well, it’s not her, but someone with the same name as her. Very quickly she is confronted by a man from the future, Kyle Reese (Michael Biehn), claiming she is the mother of the person who will be a future saviour. How do you process THAT?!? Mind blown!!



Kyle Reese and Sarah Connor then find themselves pursued by a futuristic cyborg (Arnold Schwarzenegger), hell bent on her destruction. Here she learns more and more about the future and how machines will take control, but her son, John, will lead the resistance. Thus, over the course of the film, as Sarah learns about her fate, the audience learns too. Sarah begins as a conduit and passive, before transforming slowly into an aggressive and battle-hardened fighter.

When the events of Terminator 2: Judgement Day (1991), come around we meet a whole different kind of Sarah Connor. She has transformed into a muscular and angry revolutionary. Not surprisingly, her narratives about future robots and the apocalypse find her sectioned. But, we know she is telling the truth. Moreover, due to her toughness, guile and resourcefulness, she is now very capable. No four walls will hold Sarah Connor.

Finally, Linda Hamilton’s performance must be praised too. In the first film she is a small character, quiet, likeable and lacking confidence. Over the course of the two films her physical, mental and emotional transformation is very impressively rendered. Cameron’s writing and Hamilton’s commitment to the role make Sarah Connor a highly memorable film character for me.



I AM NETFLIX – UNOFFICIAL FILM FESTIVAL! REVIEWS OF: EL CAMINO (2019), PADDLETON (2019), WILDLIFE (2019) and many, many more. . .

I AM NETFLIX – UNOFFICIAL FILM FESTIVAL!

I am still perplexed how the Netflix business model works, however, the amount of viewing I get for my subscription fee is quite incredible. In the last month or so I have squeezed even more value out of it too.

Having caught up with some Amazon, Netflix and Sky television shows of late, I realised I had missed a number of film releases on Netflix. I have since rectified that by watching loads of them in an unofficial Netflix Film Festival.

So, here are some quick-fire reviews of newer film releases, ones I missed on initial cinema release and some re-watches too. All are marked out of eleven and organised in order of enjoyment.

**SPOILER FREE**



HIGHLY RECOMMENDED!

BLACK 47 (2018)

Excellent chase thriller set in Ireland during the famine of the 1840s. Like Rambo meets Irish historical drama, it was both gritty and compelling throughout. Mark: 8 out of 11


BLINDSPOTTING (2018)

This excellent urban comedy-drama impresses with humour, poetry and adroit social commentary. Daveed Diggs and Rafael Casal excel as friends trying to steer clear of the law – Mark: 8 out of 11


COLOSSAL (2016)

This quarter-life crisis drama meets monster movie is tonally uneven, but full of fantastic ideas. Anne Hathaway is great as the party person trying to get her shit together! Mark: 9 out of 11


EL CAMINO (2019)

Did you ever wonder what happened to Jesse Pinkmon (Aaron Paul) after Breaking Bad finished? I didn’t. But this neo-Western fills in the gaps in an entertaining and solid fashion. Mark: 8 out of 11


THE GUILTY (2018)

Danish thriller findsan emergency call handler (Jacob Cedergren), striving to save a woman’s life. Tense, claustrophobic and full of twists, it’s low budget but high in suspense. Mark: 9 out of 11


PADDLETON (2019)

Starring the affable Mark Duplass and the brilliant Ray Romano, this low-key story of friendship is both funny and moving in equal measures. Mark: 8.5 out of 11



PRETTY GOOD!

AT ETERNITY’S GATE (2018)

Pretentious, elegant and beautifully told story of the last days of Vincent Van Gogh (Willem Dafoe) Mark: 7 out of 11


BETWEEN TWO FERNS: THE MOVIE (2019)

Sporadically hilarious talk show parody, with Zach Galifianakis asking dumb questions to a host of celebrities. Mark: 7.5 out of 11


I AM MOTHER (2019)

Almost brilliant science fiction film, full of great concepts and visuals. It’s let down by a very confusing ending. Mark: 7 out of 11


IN THE SHADOW OF THE MOON (2019)

Very effective mixture of sci-fi and B-movie thriller genres, finds Boyd Holbrook’s cop chasing a serial killer. Mark: 7.5 out of 11


WILDLIFE (2018)

Interesting portrait of a dysfunctional 1960s U.S. family. The acting is great but the story rarely catches fire. Mark: 7 out of 11



NOT TOO BAD!

ADRIFT (2018)

Love, disaster and survival set on a yacht – Mark: 6 out of 11


A FUTILE AND STUPID GESTURE (2018)

Amusing look at the history of satirical magazine, National Lampoon – Mark: 6.5 out of 11


CHARLIE WILSON’S WAR (2007)

Hit and miss historical satire about the war in Afghanistan. Mark: 6 out of 11


HUNTER KILLER (2018)

Efficient Cold War B-movie with dodgy plotting, but decent action set-pieces – Mark: 6 out of 11



KILL THE MESSENGER (2014)

Interesting but undramatic profile of a journalist who uncovers a US Government conspiracy. Mark: 6 out of 11


MURDER MYSTERY (2019)

The cast get a luxury holiday as the audience get a frothy and silly Agatha Christie knock-off! Mark: 6 out of 11


RATTLESNAKE (2019)

Entertaining and tense, race-against-time thriller which finds a mother with an unenviable dilemma. Mark: 6.5 out of 11


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THE MAN WHO KILLED HITLER AND THEN BIGFOOT (2018)

Sam Elliott excels in this weird, slow-moving drama, which in no way lives up to the fantastic title. Mark: 5.5 out of 11


THE RED SEA DIVING RESORT (2019)

Great cast and worthy narrative cannot save this political thriller from falling short by the end. Mark: 5.5 out of 11


SHAFT (2019)

Samuel L. Jackson acting talent cannot quite save another reboot of the classic 1970’s private investigator. Mark: 5.5 out of 11



AVOID!

HAPPYTIME MURDERS (2018)

Gross out puppet comedy which is horrific in every way! Mark: 2 out of 11


IN THE TALL GRASS (2019)

Decent horror story, ultimately gets lost in the weeds! Mark: 4 out of 11


SUBURBICON (2017)

Two narratives fail to gel in this 1950’s set misfire! Mark: 4 out of 11