Grave Encounters 2 (2012)

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Sometimes you have to admire persistence. I really didn't think that Grave Encounters merited a sequel but apparently, it's financial returns indicated otherwise. So today I found myself watching Grave Encounters 2 with a certain sense of déjà vu because like the first movie, it tries to do something different and only partially succeeds. Once again, the writers (The Vicious Brothers) manage to jump the shark at the midway point and the movie ceases to innovate and just ticks boxes. The only major difference this time round is we get a little more of everything, because it is a sequel. So, there's more jumps, more ghosts and more violence. Is there more entertainment? May be. 

The movie starts with a series of faux YouTube reviews of the original Grave Encounters. This is a fun way to start proceedings because not all the vloggers give favourable opinions. Then we meet indie horror film maker Alex (Richard Harmon) and his respective crew, who is convinced that the movie is in fact true. The more he digs for clues, the more his theory is validated. It is this first half of the story that works the best. Alex receives anonymous tip-offs via text and email from Deathawaits6. He also tracks down the producer of the first film and via a hidden camera, uncovers a chilling secret. As with the first movie, although the cast is mainly comprised of a bunch of unpleasant characters, they do all ring true.

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It takes thirty-eight minutes before the action arrives at the asylum. Curiously enough as the spooky stuff starts my interest in the movie took a sharp dip. The gadgets, cameras and technological paraphernalia used by such reality shows are all present here and this does embellish the proceedings to a degree. A thermal imaging camera is used this time, introduced via a rather obvious and crass gag. There are also some further explorations of the building's ability to change shape and alter its layout. Whilst running in panic, one character turns a corner into a corridor but their friends take the same turn only to find a brick wall. 

However there reaches a point in the story, not unlike the original, where the writers take too many liberties with the audience’s suspension of disbelief. Again, the first-person narrative give ways to material that feels much more like conventional third person cinema. The moment that happens the main selling point for the production is lost and mediocrity sets in. Grave Encounters 2 also ends with a rather more violent incident that seems a little out of place with what has previously transpired. It's rather gloating and mean spirited. The final resolution of the plot is somewhat obvious and worryingly paves the way for a third instalment.

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I found myself reminded of Book of Shadows: Blair Witch 2 when watching Grave Encounters 2. Both sequels attempt to do something tangential to their predecessors, rather than rinse and repeat but both seem to get lost after initial bursts of creativity. Overall I would say that I enjoyed Grave Encounters 2, more than the first part, mainly because of its self-referential and self-deprecating first act. As I said at the beginning, persistence can be an endearing quality. Although I really am getting exasperated with the found footage sub-genre, one should acknowledge effort, even if it is misplaced. The Vicious Brothers have tried more so than other film makers to experiment and even managed to raise a wry smile. Their tongue must have been planted firmly in their cheek when one of the characters describes Hollywood as "the film Mecca of the world".

Diary of a Podcaster Part 6

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Professor Beej recently tweeted about consolidating all his various blogs and online activities into a single entity. I naturally agreed with him and encouraged him to do so because I did something similar back in 2010. I had a gaming blog and a site for movies reviews plus a podcast to manage. It ultimately made sense to put all these thing in one place, despite their respective differences because the common factor in all of them was me. To coin a rather nauseating phrase “you are your own brand”. This is how Contains Moderate Peril came to be. In recent years, I’ve embraced this concept further and will now write or podcast about any subject that really takes my fancy. I try to stick to the things that I like but from time to time, I do stray in to wider real world subjects.

Since June 2015 I’ve been using Soundcloud to host The Burton & Scrooge Podcast. The cost is not huge, being £8 per month but it’s still another of the many minor expenses that come with having an online presence. So, I’ve been considering alternatives of late, not only for reason of fiscal prudence but also for reasons of brand continuity. Despite the fact that The Burton & Scrooge Podcast broadly does exactly the same thing as it predecessor, the Contains Moderate Peril Podcast, it has never generated the same sort of numbers. I’m beginning to think that the name is one of the contributory reasons for this. A comment left on a previous Diary of a Podcaster lent credence to this line of thought.

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I then discovered recently that the Squarespace subscription that I use for this blog, also supports podcast hosting. I can use the feed and submit it directly to iTunes. Because Squarespace has robust infrastructure, there are no bandwidth and processor usage issues to consider, thus no extra costs. So, I have decided to start hosting future podcasts right here on Contains Moderate Peril. Furthermore, I managed to revamp the old Feedburner RSS feed that was used on the old podcast and link it to Squarespace. Finally, to ensure that the branding is uniform, Burton and Scrooge will gracefully retire and be replaced by the all new (and therefore completely the same) Contains Moderate Peril Podcast. If all goes well these changes will be made by the end of the month and a new show should be available in early May.

These branding changes have also presented me with the opportunity to revise the site logo and order some new podcast artwork. I also have new voiceovers being recorded for the new podcast. I’m also not giving up on the side projects I’ve mentioned in prior posts. They will simply be subsets of Contains Moderate Peril Podcast. Therefore, Brian will feature on some shows but not necessarily on others, depending on his interest in the featured topic. I’m also hoping to strong arm a few of my “retired” colleagues into participating on occasions. Show notes will also be making a return. Sadly, the only thing I cannot offer is a weekly recording schedule. That is still off the table due to “real life” etc. So, this is the current plan. Let’s see if it pays dividends.

Grave Encounters (2011)

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I had high hopes for Grave Encounters after I saw the Trailer on You Tube six years ago. It got quite a lot of attention online, due to it jumping on the found footage bandwagon and by cashing in on the popularity of supernatural reality TV. The movie poster takes great pains to reference that fact. Shows such as Ghost Hunters and Most Haunted still pull in big TV ratings. Even I've been guilty of watching them in the past. So the idea of a TV crew investigating the paranormal and genuinely encountering it sounded very promising. Alas, Grave Encounters fails to reach it's potential in my opinion, although my primary objection hinges on a very subjective preconception. One that other viewers may not share. 

The first act sets the scene very well with the documentary crew arriving at the Collingwood Psychiatric Hospital where unexplained phenomena has been reported for years. Front man Lance Preston (Sean Rogerson) is a self-obsessed individual and more than happy to contrive material just to make a good show. He bribes the caretaker to make false anecdotes and colludes with medium Houston Gray (Mackenzie Gray) to get the right shots and dialogue. After setting up their equipment and getting locked in for the night a series of progressively more disturbing events begin to unfold. At first these are the standard sort of ambiguous happening that are common place on these reality shows. Doors are slammed, object are moved and footsteps are heard. The movie works very well up to this point.

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After an incident with EVP and the female crew member having her hair pulled, the team are genuinely startled. It is obvious that up to this point they have never truly believed in their work.  So they decide to leave the building and are forced to break through the locked front doors. It is at this point in the plot that a perfectly adequate concept is abandoned for something much more ambitious. Instead of the finding the drive and grounds on the other side of the entrance, the crew finds yet more hospital corridors. The subsequent search reveals that the building is in some sort of Möbius loop and that despite the passage of time, it remains dark outside.

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It is this very bold and possibly over reaching idea that I found to be the main problem with Grave Encounters. If this had been made as a traditional horror movie, shot from a third person perspective, then such a plot shift may well have been acceptable. Because Grave Encounters is shot as a faux documentary, such a major jump in the scope of the plot simply strains one’s sense of disbelief too much. If the movie had confined itself to just a single night with some low key supernatural encounters, it may well have been a superior piece of work. As it is, it jumps the shark within the idiom of the genre, offering predictable and clearly telegraphed shocks, culminating in a rather obvious ending that steps into the realms of the occult.

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People have criticised Grave Encounters for its two-dimensional characters, bad dialogue and cheap digital FXs. I think this is somewhat missing the point because these have always been the mainstay of the horror genre over the last six decades. For me the film fails because it over reaches itself and ends up falling between two stools. One critic labelled it the "bastard child of The Blair Witch Project and House on Haunted Hill" which certainly sum ups what the film makers where trying to achieve. My advice is to only watch this movie if you are prepared to be forgiving. Grave Encounters in spite of its poster tagline, is neither one of the scariest or memorable movies of the year. It is adequate but flawed.

I Am Bruce Lee (2012)

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Because of Bruce Lee's iconic status within popular culture there has been a wealth of material produced about him since his death. The problem lies in trying to determine what is relevant, genuine information and what is hearsay and cant. To put not too fine a point on it, there is an entire market dedicated to peddling bullshit about the man. So, I was suitably sceptical about the 2012 documentary I am Bruce Lee when it was first released. However, as Bruce Lee’s daughter, Shannon, was an executive producer and the film was officially sanctioned by the Lee estate, I felt that there was some scope for further insight in to the man.

Having now watched the documentary, I do feel that the results are somewhat varied. I am Bruce Lee covers a lot of familiar ground initially, referencing his youth in Hong Kong, his "legendary" fights and his subsequent move to the US. It also explores Lee’s frustration with the film and TV industry. The script is concise but hardly new. It also glosses over certain facts pertaining to his marriage and family life. There is also a very broad selection of talking heads, offering their take on the man, his skills and philosophy. Some are edifying and others are not so. However, what is highlighted is the influence that Bruce Lee had and continues to have with a broad spectrum of people. Particularly musicians and performing artists, as well as those dedicated to martial arts. His ethnicity also seems to play a key role, casting him as the "outsider" to the perceived establishment.

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Where I think I am Bruce Lee specifically fails is with regard to Lee’s impact upon mixed martial arts in the US. Not being an expert myself, I was confronted with differing opinions and not given any clear insight about which point of view was right. If the conclusion was that the debate is still ongoing, then even that gets lost in the overall white noise. Furthermore, this aspect of the documentary was a stark contrast to the philosophical musings of Bruce Lee. For me this was the best part of the documentary, as it portrayed him as a genuine thinker and artist across many disciplines. Lee was a keen believer in adapting and assimilating any knowledge and skills that were beneficial to his life.  His musing on simply “being human” were quite scholarly.

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Overall I am Bruce Lee is a good starting point for those who are interested in the man and wish to go beyond the apocrypha and myths. It certainly is not the definitive exploration of his legend but it may well inspire people to look further. It does confirm, through a wealth of vintage interviews and home video footage, that Bruce Lee had an inherent star quality and was a deep thinker as well as a superb martial artist. His words still speak clearly for themselves today and there really is no requirement for further testimony to this affect from Mickey Rourke and a host of other curiously chosen pundits.

The Songs of Middle-earth: Part One

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Tolkien's use of song and verse are an integral part of his writings. I am not musically talented myself, nor am I a scholar of song structure but I appreciate how he uses them for plot exposition and character development. In The Lord of the Rings, the medium of song is also used as a means of conveying the enormity of Middle Earth and the wealth of history therein. They give us a sense of the realms lore and heritage, stretching back over millennia. The respective sophistication of each song also reflects the culture that created them. Songs from The Shire are rustic and quaint. The songs of Men are bombastic and bold. Whereas Elven music is often melancholy and complex.

Norse and Anglo-Saxon Mythology were immensely important and influential on Tolkien. Thus, many of his songs are in the idiom of Norse poetry. He often uses literary devices such as the pitch of repeating vowel sounds (assonance) as well as the resonance of repeating consonant sounds (both in alliteration and in consonance). Tolkien himself sanctioned composer Donald Swann (of Flanders and Swann fame) to set some of his work to music and it met with his approval. Yet there are no definitive musical versions. This leaves a great deal of scope for artists from all musical disciplines to interpret his work.  

A Google search will provide you with a wealth of artists that have attempted to bring Tolkien’s songs to life. From Rick Wakeman, Daniel McCarthy to Sir Christopher Lee. I have selected a few of examples of these for your consideration. Some are the exact songs as they were written by the Professor himself, with accompanying music. Others have been cleverly adapted or abridged. I have even included some material that was simply inspired by Professor Tolkien's work.

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The BBC radio adaptation of The Lord of the Rings in 1981 was a milestone in radio drama. Composer Stephen Oliver made an immeasurable contribution to the production with his intelligent and musically literate expressions of Tolkien's written work. O Elbereth Gilthoniel is a paean in reverence of the star Queen. Oliver cleverly adapts the Sindarin text into a beautiful and expressive song, sung in the style of a madrigal. It is a bold interpretation yet it works superbly, reflecting the artistic dignity of the Elves.

A Elbereth Gilthoniel    
silivren penna míriel    
o menel aglar elenath!    
Na-chaered palan-díriel    
o galadhremmin ennorath,    
Fanuilos, le linnathon    
nef aear, sí nef aearon!    
 A Elbereth Gilthoniel    
o menel palan-diriel,    
le nallon sí di'nguruthos!    
A tiro nin, Fanuilos!    

O Elbereth Starkindler,
white-glittering, slanting down sparkling like a jewel,
the glory of the starry host!
Having gazed far away
from the tree-woven lands of Middle-earth,
to thee, Everwhite, I will sing,
on this side of the Sea, here on this side of the Ocean!
O Elbereth Starkindler,
from heaven gazing afar,
to thee I cry now beneath the shadow of death!
O look towards me, Everwhite!

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Now this may be a controversial choice, coming from the 1977 animated version of The Hobbit. It is not a film held in high regard. In the Valley, Ha! Ha! written by Jules Bass and performed by Glenn Yarbrough is based upon the song the Elves sing as the Dwarves, Gandalf and Bilbo ride down into the Valley of Rivendell for the first time. The musical arrangement is very much a product of the seventies and the warbling voice of Mr. Yarbrough is not to everyone's liking. Yet it catches the light-hearted spirit of the source text very well and it is worryingly hummable. I have warmed to it in recent years and consider it a good example of less being more.

O! What are you doing, 
And where are you going? 
Your ponies need shoeing! 
The River is flowing! 
O! Tra-la-la-lally
Here down in the valley! 
Ha ha! 

O! Where are you going, 
With beards all a-wagging? 
No knowing, no knowing
What brings Mister Baggins, 
And Balin and Dwalin
In June in the valley
Ha ha!

O! Will you be staying, 
Or will you be flying? 
Your ponies are straying! 
The daylight is dying! 
To fly would be folly, 
To stay would be jolly! 
O! Tril-lil-lil-lolly
Ha ha!

O! What are you doing, 
And where are you going? 
Your ponies need shoeing! 
The River is flowing! 
O! Tra-la-la-lally
Here down in the valley! 
Ha ha!

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Mithrandir by Leonard Rosenman with lyrics by Mark Fleischer, comes from the 1978 animated version of The Lord of the Rings. The score by veteran composer Rosenman is not considered to be a particularly innovative piece of work but it is both functional and adequate. Director Ralph Bakshi found it clichéd and wanted a soundtrack by led Zeppelin. The song is somewhat traditional in its style, starting with elements of a holiday choir and ending in a Miklos Rozsa style biblical idiom. Yet despite its clumsy implementation the lyrics are a curiously accurate summation of Gandalf's character. The song is sung in Lothlorien as a lament to the Grey Pilgrim and is moving in a rather honest and simple fashion. 

Let the night never cease to call you
Let the day nevermore be the same
Though you've gone where we cannot find you
In each heart you have set your name

Mithrandir far you wander
And long may your name be sung
Through kingdoms of starlight
And realms of the sun
Mithrandir though you're hidden
We're still guided by your light
You're walking beside us
A friend in the night

We were lost when the dark descended
And the light gathered into a storm
You appeared like a sunlit morning
At the winds of a world at war

Mithrandir far you wander
And long may your name be sung
Through kingdoms of starlight
And realms of the sun
Mithrandir though you're hidden
We're still guided by your light
You're walking beside us
A friend in the night

Mithrandir rising through the shadow
Like a star shining deep in its home
You will dwell in our hearts forever
Nevermore will we stand alone
 

Argo: Declassified Extended Edition (2012)

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If you are looking for a factually accurate account of the "Canadian Caper" then it may be advisable to read a book on the matter. If you’re happy to suffice with an entertaining movie that explores the complexity of international relations, the phoney nature of the movie industry and the machinations of the intelligence community then Argo has is for you. It's well written with solid performances and achieves that unique cinematic goal of keeping the viewer in a genuine state of tension, despite knowing in advance the historical outcome. Very few movies have successfully done this.

The plot revolves around an elaborate scheme to rescue six American Embassy staff who managed to escape the 1979 siege, who end up hiding out in the Canadian Ambassador’s residence. Central Intelligence Agency operative Tony Mendez (Ben Affleck) devises an ingenious cover story in which the US diplomats take on the guise of a Canadian film production team who are scouting Iran for location for a Sci-Fi movie entitled "Argo". Despite the incredulity of his superior in the intelligence service and the State Department, Mendez seeks the aid of make-up artists John Chambers (John Goodman) and Hollywood producer Lester Siegel (Alan Arkin). Eventually circumstances and a lack of alternative options means the plan is put into effect but will it fool the Revolutionary Guard? 

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For me Argo is at its best when it explores the fake production for the movie that doesn't exist. The popularity of Sci-Fi on TV and in movies during the early eighties is cleverly referenced. A visit to Burbank Studios shows Cylons from Battlestar Galactica take a break and drinking coffee between scenes. The offices of Lester Siegel are adorned with genre movie posters and John Chambers trailer is filled with prosthetic memorabilia including a chimpanzee mask from Planet of the Apes. Alan Arkin and John Goodman excel in their respective roles and the banter between the two is priceless. When discussing a low budget movie he is working on, Chambers quips "The target audience will hate it". "Who's the target audience" Mendez asks. "People with eyes" retorts chambers. 

The scenes in Tehran have an authentic feel to them and the production has gone to lengths to recreate a lot of the footage that was originally shown on network television at the time. The dynamics of the group of diplomats is very credible as they begin to panic over their fate. The final act as the group try and board a Swissair flight in the guise of a film production team is genuinely tense, especially when their credential are checked and an attempt is made to call the studio offices. The finale features a chase between troops in a truck and a Boeing 747. It is somewhat melodramatic but doesn't go so far as to jump the shark. After all this is a thriller and one expects a degree of tension.

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The Declassified Extended Edition of Argo adds an additional ten minutes to the theatrical release. The material is mainly back story and character development, yet there are some crucial scenes that are expanded that shed a little more light into how Mendez came up with his idea for "Argo". These revolve around the CIA operative phoning his son and discussing what he's watching on television. This lead to an epiphany that Mendez has while channel surfing and catching a re-run of Battle for the Planet of the Apes. The extended edition does add a little more to the movie and makes for a more rounded cinematic experience.

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Argo is an intriguing and dramatic story. It finds an even balance between nationalism and entertainment. The production values are high and the ensemble cast are outstanding. For anyone with a love of cinema who's over a certain age, then the early eighties setting will particularly resonate. It is interesting to revisit an era when movie hype was controlled by the industry trade press and that a full page promotional poster in Variety was sufficient to sell a production. It's also worth remembering that "Argo" was at one point, scheduled to be a genuine movie. The screenplay was based on Sci-Fi writer Roger Zelazny's novel Lords of Light and the storyboard and production art were created by legendary artist Jack Kirby. The production went into turnaround and the script ended up being procured by the CIA. Truth is often stranger than fiction. 

LOTRO 10th Anniversary: Remembering LOTRO Part 1

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On Monday 22nd December 2008, I visited the Game store at Colliers Wood, South West London. I was working at St George’s Hospital in Tooting the time at and the nearby shopping centre was an ideal place to spend the lunch hour. As I perused the shelves in the PC gaming section, I spotted a “compilation pack” that contained not only the MMORPG The Lord of the Rings Online but it’s recently released expansion pack, Mines of Moria. Although I was aware of the MMO genre at the time, I had never played one beyond a trial of Star Wars: Galaxies. However, as I had recently moved and was living alone, I was in the perfect position to start playing such a game. So, I decided to take the plunge and buy LOTRO for the bargain price of twenty pounds. There was also a sizeable display for World of Warcraft in the shop, which was by far the market leader at the time. Yet because I’ve always been a Tolkien fan, I just naturally gravitated toward buying LOTRO and it never crossed my mind to buy another product.

I installed and started playing the game that very night. It should be noted that the European version of LOTRO was distributed and administered under license by Codemasters at the time. So, I set up a subscription and on a whim decided to create my first character on Gilrain server, which met my language and social requirements. Having spent some time reading about the various classes in LOTRO, I can remember now that I was still a little confused by it all. Yet there was something about the Lore-master that just seemed to appeal to me. Perhaps it was the pets, or its semi-magical status. Although I wasn’t that au fait with control classes, I found the explanation of how the Lore-master fought intriguing. “The Lore-master uses his knowledge of ancient wisdom to stave off the advance of the shadow for a time. He can use his knowledge to attack his foes or to treat the wounds and suffering of his companions. He can even communicate with animals and request their aid”.

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Let it suffice to say that the tutorial quickly got my orientated in the game. Having been a gamer prior to LOTRO, meant that the learning curve was not so steep. The other advantage I benefitted from by playing LOTRO at this particular time, eighteen months after its launch, was that there was a wealth of online resources for the game already in place. This proved invaluable because things were pretty different in LOTRO back in late 2008. For example, the location of quest objectives were not directly marked on the map. The quest bestowal details usually referred to a specific area which you then had to find and search. Sometimes this would be a very intuitive process but from time to time there would be frustration. Thus, fan sites and blog would often have map coordinates to aid this process. Obtaining a mount was also a challenge. A player didn’t become eligible to purchase a horse until level 35. It also cost a tidy sum of gold and was dependent on a somewhat convoluted quest.

Looking back now at these early days of LOTRO, the most pronounced difference was the fact that much of the game was designed to be completed in a group or fellowship. The Epic storyline frequently had group content as did a percentage of the regional quests. Zone chat was filled with requests for fellowships. Yet because of the volume of players in the game and that fact that Middle-earth had not yet grown to the size that it has now, finding a group was never an issue. There was also a prevailing sense of camaraderie. If a random stranger sent you a tell, you’d more than likely answer it. For the most part, the game was populated by mature Tolkien fans and as a result, things remained mainly civil. Plus, the concept of multiplayer gaming was still novel.

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It took me nine months of to reach the then level cap of sixty. That meant playing most evenings and investing a considerable amount of time into LOTRO. There were occasions over weekends where I’d spend a whole day playing. There were also plenty of late nights, although I never did this at the expense of my personal life or work. However, let me be clear, LOTRO at the time became my primary means of entertainment and therefore I was happy to lavish it with attention. As I’m not the sort of player to experiment with multiple alts, this time was exclusively invested into my Lore-master. Lore-master crowd control skills were a key part of group play back then, so I found myself regularly grouping. As a result, friendships were formed and eventually I found the right kinship for me. Eight years on I’m still an active member of it.

Kinships always have been the heart and soul of LOTRO. They come in many shapes and sizes, catering to all types of gameplay. Yet they all have mutual support and friendship in common. What I particularly like about my kinship is its diversity and inherent good humour. It includes people from all over Europe and various walks of life. As a result, interacting with such a cross section of people has been a very positive experience and has certainly broadened my horizons. Then of course there’s the community outside of the game itself. The bloggers, podcasters, streamers and such like. Many are still active today but seven or eight years ago the scene was much bigger and very lively. Because of that community I changed my existing website to a LOTRO blog and instantly it got traction. LOTRO also inspired me to podcast. I can honestly say I’ve not encountered anything similar in all the subsequent MMOs that I’ve experienced.

To be continued.

The Grey (2012)

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Contrary to its rather obvious marketing, The Grey is not just a black and white, testosterone fuelled, action movie. It has far greater philosophical aspirations. Beneath the survivalist storyline is a narrative that explores the nature of hope, human determination and the inevitability of death as well as its place in the natural order of things. This is surprisingly cerebral for a film of this genre. It is sombre and dour but totally justified in adopting such tones. Director Joe Carnahan initially sets out a traditional scenario of a rag tag group of oil workers, desperately trying to survive the Alaskan wilderness, after a plane crash. They look to Liam Neeson to assume the alpha-male role for their group. However, we soon discover that he is wrestling with his own personal demons.

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It is here that the film shows some interesting strengths and weaknesses, by exploring the back story of the various survivors and how each copes with the hopelessness of their situation. Neeson softly calms a dying man, explaining the nature of death and helping him accept his fate. It is a scene that works well. But some of the other survivors do seem to lack credibility and are somewhat arbitrary. They serve as red shirt wolf fodder and are primarily there to expedite the plot. The wolves themselves, although ferocious are treated more as an allegorical device, rather than a traditional foe. The attacks are rapidly edited and much of the violence depicted is of the aftermath of these encounters.

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The Grey reminded me of several classic Hollywood films, not so much by direct comparison, but simply though similarity of themes and ideas. The Flight of the Phoenix, Sands of the Kalahari and even Zulu sprang to mind. But the films greatest asset, irrespective of these cinematic homages, is the central performance by Liam Neeson. His commanding on-screen presence is utterly convincing and binds the film together. There is genuine dignity in his character as he grapples with his obligations to those that look to him for leadership. A lesser actor would have rendered the film nothing more than a story of man versus the environment. Neeson elevates it to a different level; a thought provoking, existentialist parable.

Christianity and the Easter TV Schedules

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As a child growing up in the seventies, Sundays had a distinctly different feel to the other days of the week. The entire pace was more sedate and there was atmosphere of restraint. My parents would chide me for excessive noise. Activities such as reading or drawing where favoured over playing outside. The TV schedules reflected this as well. At the time, there were three terrestrial channels and only one of them was a commercial business. However, Sunday mornings would always have a televised service and there would often be a show offering some moral or ethical debate around midday. The early evening saw a similar broadcast of worship. Christianity was still an integral part of the television. 

Unlike the US, the UK does not have (and never has had) a direct separation of Church and State. For centuries the Church has had a direct influence over the political agenda and has shaped the cultural landscape. During the seventies, nothing was open on a Sunday, as the trading laws were still subject to a strong Christian lobby. Obviously due to my age at the time, I didn't see or understand the integral role Christianity played within UK society. Yet it was always there, be it at school, on TV or in the newspapers. Any vox pop at the time would always have a member of the clergy contributing. The ubiquitous presence of Christianity was such that it became reflected in popular culture. Most sitcoms would include a vicar at some point. I have fond memories of The Reverend Timothy Farthing (Frank Williams) in Dad's Army.

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Roll on forty years and much has changed. The Church of England is in decline and certainly the lobbying power of the Christian community has diminished. The UK has become a far more secular nation and Sundays feel pretty much like any other day of the week nowadays. As a result of this shift, religious content on terrestrial network TV has similarly been reduced. As it is currently Easter, I made a cursory check of the TV guide for faith based content and apart from a few broadcasts of church services, there is precious little on to celebrate Easter. Even the traditional Hollywood religious epics such as The King of Kings with Jeffrey Hunter or George Stevens’ The Greatest Story Ever Told, with its distinctly Caucasian depiction of the Holy Lands, are missing from the schedules.

Since the advent of digital satellite, cable services, VOD and You Tube, is that faith based programming has moved to these new platforms and has to compete with the sheer volume of alternative TV that is available. Something that many other TV genres has had to do. I will leave it to you to decide whether this is a good or a bad thing. However, I would like to make this point. One of the most important weekly shows for me as a child was Top of the Pops. It featured a selection of artists every Thursday, depending on what was doing well in the UK singles. Due to the lack of alternative shows, viewers would watch thirty minutes of a variety of different music. Not all of it would be to their taste but it exposed the public to a broad cross section of musical genres. Nowadays there are niche market channels that provide audience with just the music they want, thus insulating them from anything else. It is this very proliferation of choice that means that many people are simply no longer exposed to any religious content on TV. 

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I think that it’s beneficial for people to have a broad knowledge of multiple belief systems. There is a great deal of misinformation about the Christian faith and other faiths. The public as well as a lot of Christians themselves are not very well informed about the doctrines and fundamental underpinnings of Christianity. Perhaps at times such as Easter, rather than just showing traditional TV fodder such as church services or re-enactment of The Passion, perhaps it would be wiser to have more documentaries and current affairs programs that explore what it is to be a Christian in the in the twenty first century. What it can and cannot offer.  In the meantime, Happy Easter to all, whether you enjoy it as a public holiday or whether it is the focal point of your religious calendar. As for me, I'm off to watch Martin Scorsese's The Last Temptation of Christ. A challenging and intelligent exploration of Christ's final hours. And don’t forget, chocolate eggs will be half price on Tuesday.

Jack Reacher: Never Go Back (2016)

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I thoroughly enjoyed the first Jack Reacher upon its release in 2012. It was a stylishly made, well written, character driven thriller with solid performances and great action sequences. I think a lot of the movies success came down to director Christopher McQuarrie who patently had a good grasp of the source material and how the genre works best. Therefore, when I noticed that he was conspicuously absent from the recent sequel Jack Reacher: Never Go Back, I was curious as to who would fill his shoes. Edward Zwick, an experienced film maker who has worked with Tom Cruise before, directs this time round. All the elements that were present in the first movie are here again. The cast is robust and the narrative concise. Reacher is still an engaging protagonist. Yet for some reason that I can’t exactly put my finger on, the pieces just don’t seem to fit together.

Jack Reacher: Never Go Back starts with a vignette which establishes the character’s credentials as an ex- Military Police Officer who now lives off the grid. Despite his drifter lifestyle Reacher still has links to the US Army and over time develops a bond with Major Susan Turner (Cobie Smulders). While making an impromptu visit to Washington, he discovers the Major has been relieved of command pending a court martial for murder and espionage. As Reacher investigates, he finds himself up against rogue military contractor Parasource and an assassin who is more than his match. Matters are further complicated when Reacher learns that he may have a daughter (Danika Yarosh) and that her life may be in danger from Parasource.

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Neither the plot or performances seem to be the problem with Jack Reacher: Never Go Back. The overall production despite a budget of $60 million, seems a little underwhelming. Edward Zwick doesn’t stamp any particular tone or feeling on the proceedings. Washington and New Orleans are usually interesting and charismatic settings for a motion picture, yet precious little is done with them on this occasion. Director of photography Oliver Wood has shot several action movies over the years (Die Hard 2, The Bourne Supremacy and The Bourne Ultimatum) and can usually utilise locations well. In this instance, the character of the surrounding is conspicuously absent from many scenes. The cinematography is somewhat stark and the production spends too much time in warehouses and government buildings.

Another aspect of the film that seems off, is the editing. Billy Weber is an editor of note and has worked well with such directors as Terence Malick. He certainly has constructed some robust action scenes in previous movies such as The Warriors, 48 Hrs and Extreme Prejudice. Yet here the fights sequences seem poorly constructed often obscuring what is actually happening. Beyond these set pieces the whole movie has a somewhat stilted and awkward feel to it. At times the production has a distinct television feel to it and I wonder if there were time constraints when filming or whether much of the work was delegated to understudies and journeymen crew members.

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Jack Reacher: Never Go Back lacks the polish of its predecessor. The ingredients are all present yet the end product is not of the quality one was expecting. The film also contains some unnecessary genre tropes that a director of Zwick’s standing shouldn’t need to use. “Red shirt” henchmen wear sunglasses for example. The main villain played by Patrick Heusinger sports black leather driving gloves to denote his evil status. Again, it smacks of someone else with less experienced, involvement. However, in all fairness the film is not a total disaster. Cruise manages to do most of the heavy lifting and still turns in a watchable performance. The plot is acceptable and the film works well as evening-in entertainment. However, if I had paid to see this at the cinema I would have been deeply disappointed.

Jack Reacher: Never Go Back made a profit at the box office but nowhere near as much as the first movie. The critics were also split on the films virtues. Therefore, the future of Jack Reacher’s cinematic adventures remains in question. However, if a third movie is commissioned I’m sure Tom Cruise could carry it off, being a good shape for a man in his mid-fifties. The alternative is that the franchise sits on the back burner, while the suits ponder which direction it should take. Then like Alex Cross, there could well be a reboot rather than a continuation. It’s a shame because Lee Child’s books lend themselves well to film, yet after a great start their cinematic adaptations seems to have stumbled somewhat. Perhaps a TV show on cable would be a more suitable medium.

Jack Reacher (2012)

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There is often scope for controversy whenever a well-known literary figure is brought to the big screen. Physical descriptions previously established by the author are often ignored in favour of casting a known star. However, books and film are very different mediums so such changes can be done in the name of artistic license. Furthermore, if they are done with intelligence and integrity they can be beneficial. The casting of Tom Cruise as Jack Reacher is a bold step because of the obvious difference between the actor's and fictional character's stature. Yet it works extremely well. Tom Cruise simply excels in the role. It should also be noted that author Lee Child endorsed his casting, stating that “Reacher's size in the books is a metaphor for an unstoppable force, which Cruise portrays in his own way." 

So now that we have that matter out of the way, what exactly does Jack Reacher have to offer as a mainstream Hollywood thriller? Well for starters it has a tightly written, intelligent script filled with interesting, plausible characters and a story-line that doesn't strain ones sense of incredulity. Secondly, it is well paced, beautifully shot, showcases strong performances from all involved and keeps the audience emotionally invested and engaged. Finally, unlike many movies that cynically exploit the confines of the PG-13 rating, trying to peddle adult themes to a younger audience without dirtying their hands; Jack Reacher successfully depicts acts of violence with restraint and skill, portraying dark and quite shocking events in a dramatic yet unexploitative manner. Simple put this is very good cinema.

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After an ex-military sniper appears to shoot five innocent people in cold blood, the Police and D.A. think they have an open and shut case. The only request that the suspects makes is "get Jack Reacher".  Within a matter of hours, the said Mr. Reacher arrives but to the defence councils surprise, not to exonerate the accused but to "bury him". Surprised by the accused's request, Reacher then embarks upon his own investigation and it soon becomes apparent that all it not what it seems and someone powerful wants Reacher’s enquiries shutdown. However, Jack has no intention of being sidelined and uses his experience as a former Military Policeman to penetrate the ongoing mystery. 

At the centre of the movie is Tom Cruise, who brings Jack Reacher to life in a very natural performance. Reacher is not a traditional hero, nor is he as binary as many other alpha male stereotypes. His appeal lies in his keen mind, which stems from his military training. His strong moral code and direct manner also make his character both credible and likeable. Writer/Director Christopher McQuarrie does not add any unnecessary Hollywood tropes to the screenplay. There is no superfluous romance between Reacher and defence lawyer Helen Rodin (Rosamund Pike). Rodin is also a credible female character and bereft of the usual stereotypical baggage. The dialogue is candid and direct, with Reacher especially speaking his mind. The hand to hand combat and the use of firearms are depicted realistically. The movie makes no concessions to lazy viewers and expects the audience to concentrate and think.

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If this wasn't enough, we are also treated to an extended cameo by Robert Duvall, who as usual makes great acting look so easy and natural. Frankly I was surprised at how good this movie was and the impact it had. It reminded me of many the great thrillers produced during the seventies; films such as Three Days of the Condor and The Taking of Pelham One Two Three. Movies that were lean, streamlined and driven by strong scripts and performances. Jack Reacher most definitely has that vibe to it as well as the sumptuous visual sophistication that modern film making can have. The dialogue is littered with dry quips and asides which enhances the characters. They're relatively profanity free which is a rare thing these days, yet still very effective.

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I have never read any of Lee Child's novels so I was able to watch this movie adaptation without any major pre-conceptions. From my perspective, Jack Reacher is a breath of fresh air and a welcome improvement on mainstream studio thrillers. For those who have a strong connection to the source text, I would urge them to temporarily put aside their preconceptions and give Jack Reacher an objective viewing, bearing in mind the key word “adaptation”. I think people may well be pleasantly surprised, especially in light of the authors own personal endorsement. 

CMP Giveaway: Win a Copy of Mass Effect: Andromeda for the PC (Closed)

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It’s been a while since there’s been any giveaways on Contains Moderate Peril. I won’t bore you with the details why. Legal complexities although pertinent are exquisitely tedious. So, to cut a long story short, here is a chance to win a copy of the popular RPG Mass Effect: Andromeda (standard edition) for the PC. Do I really need to write a potted summary of what this game is about? I think not. Despite the controversy surrounding aspects of the game upon its launch on the 21st March, it would appear that this title has still found favour with the gaming community. So, I thought it the perfect title to feature as the first Contains Moderate Peril giveaway of 2017. Keep checking the site, we have more to come over the month ahead.

Here are the minimum and optimum PC requirements to play Mass Effect: Andromeda.

Minimum System Requirements

OS: 64-bit Windows 7, Windows 8.1, or Windows 10
CPU: Intel Core i5 3570 or AMD FX-6350
RAM: 8 GB
GPU: Nvidia GTX 660 2 GB, AMD Radeon 7850 2 GB
Hard Drive: At least 55 GB of free space
DirectX: DirectX 11

Recommended System Requirements

OS: 64-bit Windows 7, Windows 8.1, or Windows 10
CPU: Intel Core i7-4790 or AMD FX-8350
RAM: 16 GB
GPU: Nvidia GTX 1060 3 GB, AMD RX 480 4 GB
Hard Drive: At least 55 GB of free space
DirectX: DirectX 11

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To enter follow the instructions below:

There are two ways to enter the draw. You may use anyone of them or both for a chances to win.

Method 1: Simply leave a comment on this post using a legitimate email address that you can be reached on. 

Method 2: Follow @ModeratePeril on Twitter, then use your Twitter account to tweet this exact phrase: Win a copy of Mass Effect Andromeda @ModeratePeril http://bit.ly/2nNh5lI #MEACMP #Giveaway #Competition

The competition will close on Sunday 30th April 2017 at 18:00 GMT. 

Terms & Conditions:

1.) One entry per person, per method (comment or Twitter) please. Total of 2 possible entries per person. To comply with UK ratings regulations all entrants must be 18 or over.

2.) Any entry using an IP address that's already logged will be deleted. Effectively only one set of entries per household.

3.) The actual text of your comment has no bearing on the competition, although it is sensible to be polite. It is irrelevant whether you post a unique comment or a reply to another person.

4.) Contains Moderate Peril's decision is final. There will not be a debate, steward’s enquiry or inquest into who won.

5.) The winner will be contacted by email or Twitter Direct Message. If they do not reply within 2 days, the prize will be re-allocated.

6.) The prize will be in the form of a region free game code for the Origin game platform. The winner will need to have or create an Origin account.

7.) Contains Moderate Peril contributors cannot enter.

8.) By entering you accept responsibility that the prize is compatible with your hardware. If you win and it's not, that is your problem and you have no recourse to Contains Moderate Peril.

9.) The winner may not request that the prize be transferred to any other person. No cash alternative or alternative prize is available on entrant's request but in the event of the advertised competition prize being unavailable we reserve the right to offer an alternative prize of equal or greater value.

10.) Entry in the competition implies acceptance of these rules

Good luck.

Poltergeist (2015)

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Tobe Hopper's original Poltergeist was in many ways a socio-economic satire of the Reagan era. A bold statement about consumerism, the American Dream and the notion that the so-called "perfect life" was built upon a lie. However the central characters in the 1982 film and were benign and essentially likeable. Although they were social climbers they were tempered by some of the more compassionate aspects of seventies pop culture. The family at the heart of this remake are subtly different. The Bowen's are suffering both financially and emotionally due to the foibles of the economy. Where the original movie was about US notions of family aspiration, this remake is about the failure of retail therapy and taking comfort in "things".

Sam Rockwell and Rosemarie DeWitt offer convincing performances as Eric and Amy Bowen. Their economic plight is something most people can relate to. Kennedi Clements is engaging as young Madison Bowen. Her character remains at the heart of the supernatural events and the centre of the story. Gone is the engaging eccentricity of Zelda Rubinstein and the enigmatic medium has now been replaced by Jared Harris. Carrigan Burke, a TV reality show paranormal investigator, is simply not such an enjoyable character and although Harris' performance is fine, he just isn't as interesting as his predecessor. Plus of course there's the issue of his hat.

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Sadly the emotional underpinning that was present in the first movie due to Steven Spielberg’s presence, is not so prevalent this time round. Much of the updated, modern variations of the storyline and production seem just arbitrary. Beyond being just different they don't really bring that much new to the table. The original movie made sense set against the political background of the time. The fear that television is essentially a bad and pervasive influence upon society, has not been replaced with a suitably similar contemporary theme. TV sets are no longer a metaphorical conduit this time round, merely a convenient portal. If Poltergeist had swapped television for another problematic medium such as the internet, perhaps the movie would have worked better and had more substance.

For those looking for a functional PG-13 jump-fest (which remain very much in vogue at present) then Poltergeist provides an adequate fix. It is directed by Gil Kenan in a very contemporary fashion and boasts good production values for a genre movie of medium budget. It certainly does not do any harm to the franchise but sadly it doesn't do anything radically different either. More thought should have been spent on the updating of the story which focuses mainly upon the physical changes of the last thirty years. Poltergeist should have been rooted in current socio-political concerns of our time to give it more substance. As it stands the overall differences are perfunctory and the film lacks a thematic anchor.

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Poltergeist is currently available on DVD and Blu-ray in both the theatrical version, rated PG-13 and as an extended edition. The theatrical release runs for 93 minutes, whereas the longer version is 101 minutes. The differences are mainly extended scenes or alternative takes and focus on the character development of the family. They offer no additional horror material and have no impact upon the rating whatsoever. For the purpose of this review I watched the extended edition, on the grounds it offered a fuller narrative and thus a potential superior viewing experience over the standard theatrical print.

Blogrolls and News Aggregation

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Blogrolls are both an asset and a social minefield. In principle, they are simply an additional online resource, hopefully offering readers links to further material they may find of interest. However, they can also be regarded as popularity contests or an exercise in mutual backslapping among blogging peers. I’m also not too sure of the appropriate internet etiquette associated with them. Sometimes bloggers feel snubbed if they find that their site is absent from their colleague’s blogroll. Also, if someone lists your site on their blogroll are you obliged to reciprocate? Because of these reasons and the simple fact that my current website template does not utilise a sidebar, which is the traditional location for a blogroll, I have stopped maintaining one on Contains Moderate Peril.

A few years ago, I set up an aggregation website called The Gaming Blog Nexus and it proved a more practical means of curating other people’s blog content. It was a popular and successful resource but like most online projects it was subject to increasing operational costs. After two and a half years I decided to close the site, which at the time listed over one hundred and twenty gaming related blogs. Although I do not regret my decision as I do not have unlimited funding for my online projects, I do miss its practical benefits. It was a straightforward and convenient way to keep abreast of websites and blogs that I enjoy. I was hoping after the closure of The Gaming Blog Nexus that someone else would create something similar. To date no one has.

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At present, I’m using Feedly for my news aggregation. It works well across multiple platforms, although I do find the mobile version I have on my Samsung S6 to be the most convenient and streamlined. The Android app allows the user to clearly scroll through summaries of new content quickly and efficiently and decide whether to read or delete. So far, it is the most practical means of managing all the new articles I wish to read. It’s a great service that I will happily recommend to others. However, there is one minor point that concerns me. I started using Feedly after Google Reader shutdown in 2013. It made me very aware of our increasing dependency on “free” apps and services. There is always the possibility that Feedly may similarly vanish at some point in the future.

There are many tools that help you manage the flow of information. I find Microsoft Outlook invaluable for managing my daily emails. I have multiple accounts and several calendars to contend with and Outlook provides all the functionality I need to stay on top of things. For me it is the de facto tool for the job. Yet I’ve still to find a similar program or online resource that allows me to manage the websites I subscribe to as effectively. Google Reader, Feedly and Blogrolls are a good starting point and allow you to segregate the content you want from the usual internet white noise. Yet I can’t help feeling there’s scope for something else that can not only curate your favourite content but learns your likes and dislikes and suggest comparable material. So, I’ll keep looking. If I find such a service I no doubt blog about it.

The Devil Rides Out - Restored and Altered

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The Devil Rides Out was restored by StudioCanal and released on Blu-ray in 2012. Based on Dennis Wheatley's famous novel, the film is considered to be one of Hammer studios the finest works, made at the height of their success. The story centres around a group of friends who meet for a reunion, only to discover that one of their circle has fallen into the clutches of a satanic cult. The Duc de Richleau (Christopher Lee) and Rex Van Ryn (Leone Greene) soon find themselves up against cult leader Mocata (Charles Grey), who is not disposed toward releasing his new acolyte Simon Aron (Patrick Mower). The Devil Rides Out features an intelligent screenplay by Richard Matheson and strong performances by Christopher Lee and Charles Gray. As ever with Hammer movies, the production designed is polished and looks more lavish than it is. Unfortunately, the films poor box office returns outside of the UK, meant that the studio declined to make any further adventures of the Duc de Richleau. 

What makes The Devil Rides Out so enjoyable is its brooding atmosphere, period charm and luxurious sets. It is a well-paced horror film with an emphasis upon plot and character. It encapsulates all the finest qualities of Hammer studios. It may not be particularly shocking or horrific by today's standards but it certainly has an unsettling ambience to it. This is a story from a time when the UK was still a predominantly Christian nation and the notion of one’s immortal soul being in peril, was not such an abstract concept as it is in these secular times. Unfortunately, due to budgetary restrictions and technical limitations, the movies visual effects do look somewhat dated.

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Because of this very issue, during the restoration of the optical elements from The Devil Rides Out, it was decided to enhance certain sequences, to bring them in line with the original vision of Hammer and director Terence Fisher. Matte lines have been removed and colour regraded on composite shots. More controversially some footage has been added or replaced. The spider sequence now includes holy water being thrown and the lightning strike on the satanic alter has been more convincingly recreated. The most notable change is the additional lighting to the arrival of the Angel of Death. A back-light has been added to Death's entrance into the library and when he removes his mask, a flaming blue background has replaced the original black.

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I have a great love for Hammer films and am very supportive of StudioCanal in their undertaking to restore so many of these classics. I therefore do not wish to be sidetracked by a debate of the rights or wrongs of these enhancements. However, I do feel that it was a mistake not to include an original print of the movie on this particular Blu-ray release as a bonus. The new effects work could easily have been included via seamless branching.  Let us hope that StudioCanal listen to fans and reflect upon the debate that has arisen. Overall this is the finest presentation of The Devil Rides Out we are ever likely to see. It still has much to offer both old and new fans alike. 

Ten Books of Note - A Personal Selection

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Many of my fellow bloggers regularly posts details of what they’ve been reading of late. I must admit that although I received several books and graphic novels as Christmas presents, I’ve yet to start any of them. The bulk of my reading is done via my PC or Tablet and usually tends to be news articles, blog posts and research for my writing. The last book that I physically read was Titus Crow, Volume 3: In the Moons of Borea & Elysia by Brian Lumley and that was last November. So, I’ve decided to get back into reading in the traditional sense and as ever have allotted time in my schedule and set myself goals. As a carer I have numerous appointments to attend throughout the week with my parents. Rather than waste time on my phone perusing twitter and gawping at the internet, I shall use these periods to read.

In the meantime, I thought I’d kill two birds with one stone and not only set up a reading schedule but write a quick list of some of my favourite books. I would like to stipulate that this is not a "top ten" or a list of books of outstanding literary merit, although I believe some of these titles do fall into the latter category. These are simply books that I've enjoyed reading and that made quite a big impact upon me at the time. All the titles discussed in this post are works of fiction. I’ll more than likely compose a separate list for non-fiction titles. For the record, I have no particular preference for either genre. The only thing I require from a book is that it’s absorbing. A book that cannot hold my interest is soon cast aside.

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The Old Man and the Sea by Ernest Hemingway:  I first read this book when I was fifteen and it was the one of the set texts for an exam. I was left bewildered by the themes that the story explores and frankly had little sympathy for the "Old Man". Having re-read in more recent years I now find many of the concepts far more accessible. Santiago's struggle with his Marlin adversary is quite profound and I no longer see the books ending as a failure but a positive validation of the "Old Man" motives. 

Nineteen Eighty-Four by George Orwell. Orwell's vision of the future is possibly more relevant today than it was upon its publication in 1949. "Doublespeak" along with "Two Minutes of Hate" seem to be integral aspects of modern life and we seem to have willingly embraced them, rather than had them forced upon us. For me the most powerful aspect of the book is the bleak but utterly plausible ending. I think this book should be mandatory reading in all schools. 

The Lord of the Rings by JRR Tolkien:  I read The Hobbit as a child but didn't tackle The Lord of the Rings until 1978. I find the depth of history that permeates the text extremely engaging. Even though the events of the third age feel epic, there is still a sense of something even vaster reaching back over time. There are also many thought provoking themes within the narrative and the book holds up to multiple readings, due to its complexity. I am still intrigued by the enigma of Tom Bombadil. This is a book that manages to be many things to many people, finding fans and enthusiasts from all quarters. I like that quality.

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The Pickwick Papers by Charles Dickens:  A timeless tale of a group of gentlemen and their misadventures as they travel around the English countryside.  As well as being a very interesting snap shot of travel in Dickensian times, this is a genuinely funny collection of stories reflecting the fact that human nature seldom changes over time. This book was instrumental in kindling my love of language. Dickens uses some wonderful words and phrases, many of which I have adopted into my personal lexicon. 

At the Mountains of Madness by H.P. Lovecraft:  A superb tale that blends both science and the supernatural. Set in a time when the world still held hidden mysteries and vast swathes of the earth remained unexplored, this is a disquieting tale, that builds in atmosphere. Lovecraft's skill lies in exploring the concept of something vast and ancient that lurks just beyond our normal senses. He excels at conveying the idea that we unknowingly share time and space with ancient beings, utterly alien to ourselves. This book is a great introduction into the world of the Cthulhu Mythos. 

The Martian Chronicles by Ray Bradbury:  Ray Bradbury's The Martian Chronicles is a thoughtful, lyrical collection of short stories about human colonisation of Mars and its consequences it has upon both races. Filled with rich themes and philosophical questions this remains an incredibly thought provoking read. The brief and esoteric insights the stories provide into Martian culture and society are one of the most engaging aspects of the book. The Martian Chronicles is also a snapshot of the prevailing social issues at the time it was written. Many still remain unresolved to this day.

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Three Men in a Boat by Jerome K. Jerome:  First published in 1889, Three Men in a Boat is a humorous account by Jerome K. Jerome of a boating holiday on the Thames between Kingston and Oxford. Some humour simply doesn't date and this book is filled with amusing vignettes and comic narrations. Two outstanding incidents are Uncle Podger's attempt at hanging a picture and a curious discussion of "Advantages of cheese as a travelling companion". The undertaker’s comments will remain with me forever. What I like about this book is the fact that the indolence of young men remains constant. 

Carnacki the Ghost Finder by William Hope Hodgson:  William Hope Hodgson's supernatural detective, Thomas Carnacki, remains criminally underrated in literary circles. This collection of short stories explores several of Cranacki's old cases. Sometimes there are worldly explanations to the various mysteries. Other times there is clear evidence of the opposite. Like Lovecraft, Hodgson hints at a vast, malevolent force outside of human perception. He also mixes science with the occult, with Carnacki frequently using his Electric Pentacle; a series of multicoloured neon tubes. This is weird and baroque fiction at its best. 

Twinkle, Twinkle, Killer Kane by William Peter Blatty:  Col. Vincent Kane arrives at a remote castle serving as an insane asylum for U.S. Army soldiers where he attempts to rehabilitate them by allowing them to live out their fantasies. It soon becomes apparent that Kane may be just as psychologically disturbed as his patients. Fascinating, tragic and immensely uplifting are just some of the ways I would describe this book. It manages to balance a compelling theological subtext with a strong streak of gallows humour. A very rewarding read and one of the great unsung novels of the seventies.

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The Medusa Touch by Peter Van Greenaway:  On the surface this is quite a conventional science fiction potboiler, about a disenfranchised writer who has the power to create disaster and catastrophe. However, it is elevated above the mundane by the central character of John Morlar, whose misanthropic narratives are utterly fascinating and sadly quite perceptive. The book also raises some relevant questions about the establishment, various public institutions and their relationship with power, which was a common theme for the author. The cathedral shattering denouement is suitable spectacular. 

So, there are ten books that I recommend. As of tomorrow, I embark upon my new reading regime. For my first book of 2017, I’ve opted for some heavyweight non-fiction. I’ve ordered Sapiens: A Brief History of Humankind by Yuval Noah Harari. I heard the professor being interviewed on a podcast recently and he raised several points about human nature that I found fascinating. So, I’ll give one of his books a go. If it proves too taxing or beyond my intellect, then I have several short stories by Roger Hargreaves in reserve. His work never fails to delight. In the meantime, feel free to leave a comment and recommend anything you’ve read that you think may be of interest to me.

Salt: The Director's Cut (2010)

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Director Phillip Noyce is no stranger to the thriller genre having made several competent examples such as Dead Calm, Patriot Games and Clear and Present Danger. Therefore, I was expecting a professionally crafted action film, when I recently purchased Salt on Blu-ray. However, it soon became apparent that Salt had suffered the usual indignities of studio interference during the course of its production, as there are three versions of the movie on the disc. The PG-13 theatrical version suffers from the usual ratings issues, so I chose to ignore it. The Extended cut includes new and alternative scenes as well as the violence restored but I felt it appropriate that I watch The Director's Cut for the fullest version of the movie. Specific details regarding the differences between all versions can be found at movie-censorship.com

The Director's Cut of Salt is a stylish and gritty post Cold War thriller that benefits from a solid cast and imaginative writing. Initially written as a vehicle for Tom Cruise, Angelina Jolie had the script re-tooled by writer Brian Helgeland to more suit her requirements.  Yes, the plot is somewhat farfetched but I consider its grandiose storyline to be an asset rather than a fault. The theme of deep cover Soviet agents waiting for decades to cause havoc reminded me of Don Siegel's 1977 movie Telefon. Salt is certainly no more preposterous than the convoluted adventures of Jason Bourne. The editing is certainly superior to that franchise, for starters.

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The movies greatest strength is the central performance by Angelina Jolie as Evelyn Salt. Is she a loyal CIA operative or really a double agent? The film keeps you guessing and more to the point, Jolie keeps the viewer caring. She also acquits herself extremely well during the action sequences which are not the customary CGI-fest you usually get these days. There are some very good physical effects sequences featured in the Director's Cut as well as some solid hand to hand combat. Liev Schreiber and Chiwetel Eijofor provide robust support as investigating government agents without descending into caricature. Playing senior covert operatives can so often be subject to so much cliché.

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Whenever Hollywood deviates from a standard formula and casts against established gender or racial stereotypes, such a decision can often overshadow a movie. Sometimes a need to justify this “difference” can even work its way into the screenplay. Salt avoids such stupidity and doesn't go to any length to crassly highlight the gender of its protagonist. It offers an entertaining one hundred minutes and includes all the standard tropes and memes one expects from this genre. The Director's Cut provides more narrative and plot development and is the most well rounded version of the movie. It certainly allows Angelina Jolie to do more than just perform her own stunt work and as such is the cut of the film I would recommend. 

The Ninth Configuration (1980)

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In a remote Gothic castle in the Northwest of America, the US military attempt to determine whether a group of apparently deranged servicemen and one astronaut, Billy Cutshaw (Scott Wilson), are faking their insanity. When experimental psychiatrist Hudson Kane (Stacey Keach) arrives to take charge, he is subtly persuaded by Cutshaw and fellow inmate Lt. Reno (who is adapting the works of Shakespeare for dogs) to indulge the men's delusions and engage in extravagant roleplay therapy. As Center 18 descends into insanity, it becomes clear to Sargent Groper (Neville Brand) of the hospital staff, that the new psychiatrist may be more deranged than the patients. Cutshaw challenges Kane to prove the existence of God by showing him one single act of genuine self-sacrifice. Kane accepts the challenge but his mental state is rapidly deteriorating. He reveals to medic Dr Fell (Ed Flanders) that he is haunted by murderous dreams belonging to his brother, the infamous marine 'Killer' Kane. Who or what is psychiatrist Hudson Kane? Will Cutshaw and the other patients be cured?

It is very difficult to know where to begin with any sort of analysis of The Ninth Configuration as it’s a movie that straddles multiple genres. Written and directed by William Peter Blatty its Golden Globe-winning script is a reworking of director’s 1966 novel “Twinkle, Twinkle, Killer Kane”. The screenplay expands an quirky literary theological indulgence into a powerful and deeply philosophical melodrama. The film forms the second part of a 'trilogy of faith' which began with The Exorcist and concluded with Legion (filmed as The Exorcist III). This extraordinary theological thriller combines scathing satire with sanguine spirituality in one of the most genuinely bizarre offerings of modern US cinema. There are parallels to Hitchcock's Spellbound (1945) in terms of the narrative but its tone is closer to Samuel Fuller's Shock Corridor (1963) or David Lynch's Twin Peaks Fire Walk with Me. One can also draw parallels with Miloš Forman’s One Flew Over the Cuckoo’s Nest. Sadly, The Ninth Configuration still does not enjoy the status of that movie.

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The Ninth Configuration alters in tone regularly throughout its narrative arc, exploring philosophy one moment, then dabbling is slapstick humour the next. The film at times comes dangerously close to pretentiousness, yet the story is intelligently brought back to earth with gallows humour and jolting bursts of violence. There are visions of a lunar crucifixion, the claustrophobic realism of a bar-room brawl, therapeutic Nazi roleplay and Moses Gunn dressed as Superman. Blatty directs like a man who has discarded the cinematic conventions rulebook and challenges the limits of mainstream film making. The result is a movie that is not easily quantifiable and thus not immediately accessible to mainstream audiences. Yet it’s a film packed with oddly erudite one liners; "You remind me of Vincent Van Gogh. Either that or a lark in a wheatfield”. The late William Petty Blatty had a flair for comic dialogue. Thus, the ensemble cast are allowed to explore their characters to the full. Stacy Keach playing catatonically straight to Scott Wilson's Marx Brothers madcap persona. Ed Flanders' remains deadpan, while George DiCenzo and Robert Loggia chew the scenery. Jason Miller and Joe Spinell indulge in Abbott and Costello style banter as they stage Shakespeare in increasingly bizarre ways.

Cinematographer Gerry Fisher prowls around the castle's corridors in suitably gothic fashion. The brooding environment is an interesting juxtaposition to the traditional sterile environment of a military hospital. Barry DeVorzon's provides an eerie score that manages to enhance the unfolding madness. His musical cues are few but expertly deployed. A key scene in the movie is a bar room fight, which shifts the direction of the narrative noticeably. It’s an incredibly authentic piece of fight choreography, using accurate techniques, created by veteran stunt arranger Booby. It’s one of the most credible fights involving someone with a military background, since John Frankenheimer's The Manchurian Candidate. Miraculously, despite the intentionally chaotic manner in which the story unfolds, as it lurches from comedy to tragedy to psychosis, director Blatty manages to produce a film that examines the most fundamental questions of life. Is there a God? Is there a point to it all? Why is there so much suffering in the world? His conclusion is poignant and thought provoking.

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The Ninth Configuration has been distributed in numerous formats over the last 37 years, most of which were constructed by Blatty himself. Refined from an assembly print of over three hours, the film was originally issued in the US in two distinct versions. A longer cut first released by Warner in early 1980 and an abridged version retitled Twinkle, Twinkle, Killer Kane from United film Distribution. There have also been additional regional variations that have been cut for content or violence. Unsatisfied with all versions, Blatty finally decided to definitively recut The Ninth Configuration for a New World rerelease in 1985, creating the 1 17-minute, 37-second cut which now stands as his approved runtime. This final cut includes much comic dialogue absent from other versions (Cutshaw and Reno discussing “Spellbound”, Reno and Spinell arguing about casting Hamlet) and adds a haunting pre-credits overture in which Barry DeVorzon's song “San Antone” plays over a montage of images of the castle in the rain. It is this edit that is currently available on DVD and Blu-ray.

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The Ninth Configuration is a curious beast and is certainly not for all audiences. It has a measured pace that requires both patience and concentration from the viewer. I would urge anyone who enjoys theological debate, or films that address the human condition to view this enigmatic piece of cinema. Be prepared to indulge the film maker and expect the unexpected. Also be aware that this is an adult film with adult themes. Therefore, the film is rated “15” in the UK and "R" in the US and is not for the casual viewer. For those who approach it in the right fashion it should prove a rewarding and experience and a definite talking point. Hopefully in the years to come, The Ninth Configuration will move beyond its current cult film label and achieve the artist recognition it truly deserves.

The Geography of LOTRO: Part 3 Filling in the Gaps

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I would like to once again return to the matter of the geography of Middle Earth. David Braben, co-creator of seminal video game Elite, called truly open-ended game design and sandbox gaming environments "The Holy Grail" of modern video gaming. He cited games like Elite and the Grand Theft Auto series as early steps in that direction. For many gamers, the idea of being able to freely roam a virtual world without any deliberate restrictions is a very enticing one. For Tolkien fans, the notion of being given complete freedom of movement throughout Middle Earth would be a dream come true. However, due to the way that LOTRO has been designed, Standing Stone Games vision of Middle Earth, although well-conceived is not such an environment.

The latest stable map for LOTRO shows all the various regions that currently feature in the game. Furthermore, the map highlights a significant amount of Middle-earth that does not at present exist within the MMORPG. This includes areas in Eriador such as The Grey Havens, The South Farthing and Tharbad. When looking across the Misty Mountains to Rhovanion, even more noteworthy locations are conspicuously absent. Esgaroth, Mount Gundabad and The Iron Hills spring to mind. Until recently, LOTRO players and Tolkien aficionados have just written off these missing territories. Their omission is due to the realities of developing an MMO, set in a vast Lore filled world. However, more recently new developers Standing Stone Games have indicated that they have a game plan beyond the scope of the book and that there is a possibility of many “blanks” being filled in at a later date.

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In the past, Turbine have taken a very practical approach to the way they have developed Middle Earth. The areas that have been included are all there to underpin the story. Regional quest hubs facilitate players advancement, then migrate them to new locations via the narrative. The game mechanic is heavily orientated towards playing through certain areas at specific levels. Simply put, any part of Middle Earth that does not have any relevance to the ongoing epic storyline has been somewhat ignored. Although, there are plenty of explorer deeds to be completed in each area, Turbine never really intended to make the game weighted towards players who simply wished to wander through Middle Earth. Due to the levelling mechanic and region phasing, you cannot simply travel from Ered Luin to Mirkwood just exploring.

Despite these restriction, there is still much to see in LOTRO and clearing regional quest is no guarantee of seeing all that Middle Earth has to offer. If you have a curious nature there are still many nooks and crannies to explore and little embellishments that the developers have added through their love of the source text. There are also scattered around Middle Earth, hidden villages that were created in the early devlopement of the game which were then removed from the final release. In the early days of LOTRO these could still be accessed but it would appear that Turbine have sealed these off now. One example was the hidden Hobbit villages, West of the Shire. There was another on the Western bank of Lake Evendim.

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With LOTRO’s increased focus on themed festivals such as Winter-home and new events such as the treasure hunt, there is an opportunity to utilise these vacant areas of Middle Earth. Frostbluff for example seems to be located between Northern Ered Luin and Western Forochel. Furthermore the appearance of new locations and settlements can often now be spotted in advance of these areas being made available. Northcottons farms and Stoneheights were both copiously documented and discussed prior to Update 2 going live.

Although I very much enjoy the world that Turbine, now Standing Stone Games has created, I still find it a little saddening that there are some locations in Middle Earth that I cannot get a chance to visit and discover at present. For instance I would very much like to visit the Elf Towers to the West of The Shire. Whenever I am confronted with a barrier, be it a gate, a convenient range of mountains or cliff face, I always try to look beyond it. I am always curious to know how much landmass the developers actually created. I recently travelled to the South Farthing gate and by adjusting the camera perspective tried to see as much as what was beyond it. The view is very tantalising. In a true sandbox environment the road beyond would ultimately wind a path all the way down to Enedwaith.

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As a gamer, I would like to see an MMO that allowed a player to choose a non-combat class and to simply be able to travel, explore, trade and move on again. It would be engaging to find quests and deeds specifically created around such characters, out in the wider world. Placing items or information in obscure locations could be an interesting game mechanic. Obviously, with a game such as LOTRO that now has an established methodology, the likelihood of adapting this may well be impossible , even if the developers were in favour of it. However, despite the restrictions that exist Standing Stone Games vision of Middle Earth still lends itself to a degree of exploration. New events can potentially open up the world. Narrative freedom beyond the end of text, offers even further opportunity. I think that in the years to come we may yet see many of these missing areas coming to life.

Star Trek Continues

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Fans are often a very creative and resourceful bunch. Star Trek fans especially so. At present, there’s a lack of new officially endorsed canonical content being produced. The movies set in the Kelvin Timeline are not universally embraced by all Trekkies and usually take three years to produce. The new TV show Star Trek: Discovery has been subject to several production delays and still seems a long way off. So, the fans solution in recent years, has been to make their own original content. Hence there is a wealth of unofficial, independently made shows available online, set in various incarnations of the Star Trek universe. Although many of these productions are lovingly crafted and driven by passion, often they lack the professional polish of the genuine article. Frequently their weakness lies in the quality of the acting and writing. Then there is Star Trek Continues.

I discovered Star Trek Continues by accident a year ago, when I read a promotional piece regarding the Kickstarter campaign to fund a second season. This led me to the first three episodes that had been made last year, which are currently available online. After five minutes of watching the Pilgrim of Eternity, a direct sequel to the 1966 original episode Who Mourns for Adonais, I was hooked. So I subsequently binge viewed every other piece of video available on the You Tube channel, because I was staggered that a production of this quality had escaped my notice for so long.

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Star Trek Continues is a highly-polished product, boasting a convincing recreation of the sets and costumes from the original show, as well as a talented cast. This includes James Doohan's son Chris Doohan as Scotty and Grant Imahara from Mythbusters as Sulu. Central to all the proceedings is Vic Mignogna, who plays James T. Kirk. Mignogna is an extremely talented voice actor and the driving force behind this project. He credibly channels his inner Bill Shatner, without over egging his performance or lapsing into an impression. The show also features actors such as Michael Forest (as Greek god Apollo) reprising their roles from the original series. There are also appearances from the likes of Jamie Bamber from Battlestar Galactica, ex Doctor Who Colin Baker and seventies cult actor Lou Ferrigno.

Star Trek Continues manages to not only recreate the aesthetic, style and ambience of the original Star Trek series, right the way down to the pacing, editing and soundtrack. It also successfully captures the sentiment of Gene Roddenberry's iconic show. The screenplays for each of these new episodes do seem to recreate that unique style and idiom of the original. In some respects, it's quite difficult to convey exactly what it is that they get right. Where so many other fan productions dangerous flirt with parody, Star Trek Continues seems to strike exactly the right tone. There’s humour, drama and a willingness to tackle topical social issues. Go see for yourself over on You Tube and all will become apparent.

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Now in light of the recent court ruling against Axanar Productions Inc, whose fan films were deemed to be a copyright infringement, CBS and Paramount introduced very specific guidelines regarding the creation of future fan generated content. Many, including myself, thought this would curtail any future episodes of Star Trek Continues from being made. However, I was greatly surprised to see a new episode released recently. The blog on the Star Trek Continues website clarified the situation and states that the original schedule of thirteen episodes has been reduced to eleven. However, the format of the show remains the same despite the guidelines that CBS and Paramount have set for fan films. Star Trek Continues claims to have no “special” status with the copyright holders but they do seem to enjoy a cordial relationship with them.  As a result, we can expect another three episodes of Star Trek Continues, which is an agreeable stopgap, until Star Trek: Discovery is released.