Tweaks and Changes
Every now and then, I like to make changes to Contains Moderate Peril. Occasionally these will be cosmetic but most of the time they’re functional. For example, I recently stopped subscribing to Soundcloud and moved to a free account. This meant that most of the back catalogue of podcasts in the RSS feed were no longer available to play. I therefore removed the respective links from the podcast page as it’s not very professional to present readers with material that is inaccessible. As this had a knock-on effect on several posts I had written about specific podcasts, such as Brian’s Mordor or Bust Retrospective, I uploaded a few of the shows locally and embedded a suitable player.
Every now and then, I like to make changes to Contains Moderate Peril. Occasionally these will be cosmetic but most of the time they’re functional. For example, I recently stopped subscribing to Soundcloud and moved to a free account. This meant that most of the back catalogue of podcasts in the RSS feed were no longer available to play. I therefore removed the respective links from the podcast page as it’s not very professional to present readers with material that is inaccessible. As this had a knock-on effect on several posts I had written about specific podcasts, such as Brian’s Mordor or Bust Retrospective, I uploaded a few of the shows locally and embedded a suitable player.
While I’m on the subject of podcasting, I wrote recently about how I was sunsetting the Burton & Scrooge show and reinstating the Contains Moderate Peril podcast. Sadly, real life has conspired against me and I’ve had to put this project on the back burner for a while. It’s a shame as I still have ninety minutes of material recorded from 28th March but due to technical problems with Zencastr, the recordings are out of sync. My recent foray on Fiverr to have new logos designed for the show also ended badly. The graphic designer gave me his initial ideas then went walkabout and refused to answer my messages. I got my money back but the work remains incomplete and the project still outstanding.
Despite being a Squarespace customer since August 2015, I’ve only really scratched the surface of the functionality that is on offer. Although I like the template I use for the site, it doesn’t easily allow readers to search and access older material. Hence a few months back I added the related posts footer to each post with four thumbnails of similar content. Unfortunately, there is no global way to do this so I have to manually trawl through the blog and amend every post individually. However, adding this functionality has had a serious impact upon traffic and stats. It would appear that readers will look at related material and find value in it. Therefore, as of today I’ve added a link to a blog archive page at the top of the site. This page features a monthly calendar to check back through all previously published posts.
Finally, May has come round once again but sadly no one has decided to take onboard the Newbie Blogger Initiative, so it would appear that this event has come to an end. I guess there’s no point crying over spilt milk, so it’s time to move on. I still intend to write every day this year and take a great deal of pleasure from doing so. My ambitions to increase the audience for Contains Moderate Peril appear to be working. Monthly viewing stats are up and the readership is growing. Apart from the tweaks and changes discussed, the overall strategy is to keep publishing posts and letting the existing body of work do the rest of the work. Over half the site’s traffic comes from Google searches that find older articles. If that isn’t sufficient motivation to keep writing, then I don’t know what is.
Becoming Bond (2017)
Becoming Bond is a curious documentary in so far as it’s totally dependent on whether the viewer believes the story that George Lazenby tells. Because George is obviously a well-practised raconteur one gets the impression that many of the anecdotes and vignettes he recounts have been embellished for artistic effect. He has that easy going, informal Australian charm and frequently smiles ironically, as director Josh Greenbaum, quizzes him off camera over the voracity of his tale. Mr. Lazenby also treads that fine line between being a likeable rogue and a bit of a dick, especially when he focuses on his youth. Yet he broadly keeps to the right side of this and maintains the audiences’ good will.
Becoming Bond is a curious documentary in so far as it’s totally dependent on whether the viewer believes the story that George Lazenby tells. Because George is obviously a well-practised raconteur one gets the impression that many of the anecdotes and vignettes he recounts have been embellished for artistic effect. He has that easy going, informal Australian charm and frequently smiles ironically, as director Josh Greenbaum, quizzes him off camera over the voracity of his tale. Mr. Lazenby also treads that fine line between being a likeable rogue and a bit of a dick, especially when he focuses on his youth. Yet he broadly keeps to the right side of this and maintains the audiences’ good will.
As he recounts his life story from his impoverished youth in Australia, to his days as a car salesman then a male model, the vignettes play out as an episodic drama. Josh Lawson (Superstore, House of Lies) plays Lazenby and there are several high-profile cameos from the likes of Jeff Garlin as Bond movie producer Harry Saltzman, former Bond Girl Jane Seymour as George's agent. These scenes usually have a comic tone, which at times come dangerously close to undermining the credibility of George’s story. Yet as soon as the narrative approaches such a tipping point, it’s reined in with a smile and a nod from Mr. Lazenby. There’s also a curiously melancholic streak in the proceeding with a reoccurring tale of a love lost.
George Lazenby is certainly not afraid of sharing his faults, making no attempt to dodge some of the less edifying aspects of his life and personality. He is also candid about his perceived arrogance which may be more of a failure by others to understand and appreciate Australian cultural foibles. When the story finally arrives at 1968 when Eon Productions were recasting the role of Bond, things become a lot clearer. Lazenby simply didn’t fully appreciate the consequences of taking onboard the most prodigious movie role of the time. He approached it in good faith and seemed to have fun making the actual film, yet he couldn’t cope with the requirements of stardom both leading up to and after the shoot. Certainly, the slave contract he was offered by Saltzman and Broccoli was iniquitous and would have driven any sane actor mad.
By the end of Becoming Bond, although I cannot say that I was fully conversant with the exact reasons why this man walked away from a six-movie contract and a million pounds in cash, I had a good idea. George Lazenby just wanted to be himself and not forever in the shadow of James Bond. Curiously enough, the late Roger Moore felt quite the opposite but that’s folk for you. No two are exactly alike. I genuinely felt sorry for the way that Lazenby was effectively hounded out of the movie industry, never having been a fan of closed shops or those with a strangle holds over certain businesses. Yet he found contentment in real estate, subsequently raised a family and seems to have come to terms with it all. Whether it all played out the way he tells it is debatable but he certainly offers viewers an entertaining autobiography to consider.
Valkyrie (2008)
In terms of its production values, Valkyrie is a throwback to the big budget war films of the sixties and seventies. However, that is where the similarities end. This is not a stylised action movie with the Nazis simply as a dramatic foil. Valkyrie focuses on facts, narrative and performances. Director Bryan Singer ensures that the true story that the film depicts is driven by the central characters. Overall Valkyrie is a very laudable production and although not an outstanding feature film, it is competently made, broadly historically accurate whilst and entertaining.
In terms of its production values, Valkyrie is a throwback to the big budget war films of the sixties and seventies. However, that is where the similarities end. This is not a stylised action movie with the Nazis simply as a dramatic foil. Valkyrie focuses on facts, narrative and performances. Director Bryan Singer ensures that the true story that the film depicts is driven by the central characters. Overall Valkyrie is a very laudable production and although not an outstanding feature film, it is competently made, broadly historically accurate whilst and entertaining.
The story manages to be genuinely suspenseful and conveys the magnitude of the plotter’s intentions. It efficiently follows the facts and is not side-tracked by superfluous sub plots or needless human drama. It clearly shows the real threat to families of the protagonists and conveys the paranoia of the German High command. Valkyrie assumes that the audience has an adequate knowledge of wartime events and does not make the mistake of trying to show why Hitler should be killed. Nor does it make the traditional Hollywood mistake of trying to render the complexities of wartime politics, down to “good Germans versus Bad Nazi”.
With regard to Tom Cruise, I’m not at all interested in his star status, his personal life or his religious beliefs. I have enjoyed his performances in several films in the past and he does not disappoint as Klaus von Stauffenberg. The rest of the ensemble cast works very well. Bill Nighy, Tom Wilkinson and the dignified Terence Stamp are all on top form, although a little underused. Eddie Izzard further demonstrates his acting talents. It should be noted that the mainly British cast do not attempt any stereotypical German accent but rather opt for neutral dialogue delivery.
Technically, the production design is accurate and authentic. The film manages to convey an atmosphere of a nation losing a war and an “ideology” that has become tarnished. The dilemma of whether to hedge your bets or endeavour to change an impossible situation, is explored efficiently and in a thought provoking way. Valkyrie remains as politically neutral as it can and strives to show career soldiers unhappy with the regime they see as betraying their country. They wish to prove that Germany and Hitler are not the same thing.
It is interesting to see a studio tackle a story that, despite its inherent drama, has an outcome that is a forgone conclusion. Like Ron Howard’s Apollo 13, the need to engage the audience with the fate of the characters is the key to the film’s success. I must admit that I was engrossed in Valkyrie and managed to disconnect my mind from the inevitable ending. However, due to the lack of historical knowledge among so many of today’s viewing public, perhaps this isn’t such an issue. May due to the march of time, the events depicted in Valkyrie may well have less impact. None the less Valkyrie is a competent and polished movie as well as a welcome change from standard multiplex fodder.
The Silmarillion Movie
When Peter Jackson finished filming The Hobbit trilogy, there was some idle speculation by fans as to the possibility of a movie adaptation of The Silmarillion. It was meant mainly as a talking point, rather than a serious proposition and there certainly was an enthusiastic response from some quarters. Three years on, the fantasy genre is still a commercially successful genre both at Cinemas and on TV. Furthermore, production studios are regularly looking to existing literary properties that they can convert into viable long term franchises. Bearing all this in mind, is it possible that Tolkien’s complex mythopoeic work could be adapted for either the big or little screen?
When Peter Jackson finished filming The Hobbit trilogy, there was some idle speculation by fans as to the possibility of a movie adaptation of The Silmarillion. It was meant mainly as a talking point, rather than a serious proposition and there certainly was an enthusiastic response from some quarters. Three years on, the fantasy genre is still a commercially successful genre both at Cinemas and on TV. Furthermore, production studios are regularly looking to existing literary properties that they can convert into viable long term franchises. Bearing all this in mind, is it possible that Tolkien’s complex mythopoeic work could be adapted for either the big or little screen?
Although it is theoretically possible to make either a movie of TV show from the source material, the likelihood of such a project coming to pass is very remote. Hollywood studios are very risk averse, especially towards material that cannot be easily defined and pitched at the broadest demographic. Even if The Silmarillion were to be championed by a major director, there is no guarantee that such a project would be immediately green lit. Hollywood heavy weights such as Steven Spielberg and Martin Scorsese have fallen foul of this policy recently. However, if a Silmarillion adaptation could secure financing, let us consider some of the other potential obstacles that would have to be addressed before the project could move forward.
First, there is the fundamental issue of the rights to The Silmarillion, which are not included in those currently held by Middle-earth Enterprises. I think the Tolkien estate would move heaven and earth to block such a project from progressing, as Christopher Tolkien has made his views very clear on the existing movie adaptations of his father's work. He abhors what he sees as the Disneyfication of the source material. Therefore, this is an issue that cannot be addressed during his lifetime. Whether the heirs to the estate would think differently remains to be seen.
Then there is the source text of The Silmarillion itself, which would be would be extremely difficult to adapt and market to a mainstream audience. It would require considerable restructuring and frankly a lot of dumbing down to make an accessible narrative. It is episodic by nature with an excess of characters and explores a great deal of abstract concepts. There are certainly passages of the text that would make epic set pieces but overall the narrative does not support the traditional three act story arc that cinema prefers.
This then raises the question, rather than a series of movies, would a high budget cable show such as Game of Thrones, be a more suitable medium to showcase The Silmarillion. Either way, a live action adaptation would require a prodigious budget. Considering the philosophical and theological elements to the text, perhaps live action is not the best approach to adapting the work. Would the medium of animation be more appropriate? By this I do not mean mainstream CGI but something more traditional such as cel animation or perhaps some experimental stop motion method?
Then there is the risk that any adaptation may be usurped and extrapolated into something very different from Tolkien’s vision. Tolkien was a devout Catholic although this is not immediately obvious in his works. He also deplored the use of allegory as a literary device. There is a chance that whoever adapts The Silmarillion could colour it with their own personal religious, moral and philosophical baggage and make it into something that it is not. I would hate to see something as cerebral as this book, distilled into a clumsy and misplaced metaphor to be championed by the wrong sort of Christian institutions. The Silmarillion deserves better than that.
If we still consider such a project in movie terms, then it would require director of immense cinematic skill and vision. Peter Jackson, although visually talented, is not the film maker he was a decade or two ago. He is too big a name, too commercial and now appears to exhibit a degree of self-indulgence that often comes when directors become celebrities. Personally, I think his better work is now behind him. A true visionary would be required for The Silmarillion movie but these are a scarce commodity these days. Kubrick, Kurosawa and their like are long dead, so who exactly does that leave? Guillermo del Toro, Bong Joon-ho or Alfonso Cuarón?
As you can see, these are just a few potential problems that would plague such a project. Furthermore, it can be cogently argued that just because you can do something, it doesn't mean that you should. The Silmarillion may well be unfilmable in any meaningful way and to attempt to do so may well be disrespectful to the source text. Unfortunately, film makers and especially their financiers seldom understand such concepts and often end up debasing great literary works in pursuit of the lowest common denominator and box office gold. The Silmarillion was intended by its author to be a book and nothing more. Does it really need to exist in any other way?
Classic Movie Themes: The Bride of Frankenstein
Franz Waxman's score for James Whale's The Bride of Frankenstein is as iconic as the movie itself. It has a weird and haunting quality to it with its three distinctive themes: one for the Monster; one for the Bride; and another for Pretorius. With only a modest twenty two piece orchestra , the score was recorded in a single nine hour session. Universal recycled many elements of the music in other productions over the years, most notably in Flash Gordon's Trip to Mars. This has led to it becoming an accepted part of popular culture and synonymous with spooky castles and baroque electrical equipment. It has aged remarkably well over the years and is still very evocative.
Franz Waxman's score for James Whale's The Bride of Frankenstein is as iconic as the movie itself. It has a weird and haunting quality to it with its three distinctive themes: one for the Monster; one for the Bride; and another for Pretorius. With only a modest twenty two piece orchestra , the score was recorded in a single nine hour session. Universal recycled many elements of the music in other productions over the years, most notably in Flash Gordon's Trip to Mars. This has led to it becoming an accepted part of popular culture and synonymous with spooky castles and baroque electrical equipment. It has aged remarkably well over the years and is still very evocative.
Filled with strange, sweeping yet disquieting melodies and unusual timbres, it was an extremely ambitious soundtrack for a movie at the time. Waxman's music for The Bride of Frankenstein provided the movie with the impact and sweep of a Wagnerian opera, although the finale recalls the Mahler "Symphony No. 2". The "crucifixion" of the monster, the homunculii of Doctor Pretorius and the "birth" of the Bride are magnificently embellished by the subtleties of the score. Seldom has a movie score been so integral to the overall success of the film. Franz Waxman's score remains the epitome of atmosphere and craftmanship.
Death Sentence Unrated (2007)
Urban vigilantes have always been a mainstay of exploitation cinema. Then in 1974, the commercial success of Death Wish brought the revenge thriller sub-genre in to the mainstream. It succinctly tapped into the public's fear of urban decay, escalating crime rates and an impotent justice system. However, in recent years the tide of lawlessness has broadly turned and the public's views on crime and punishment have been tempered. Subsequently the appeal and relevance of vigilante genre has waned. However, a decade ago there was brief resurgence of movies that tackled this thorny issue, although they did so in different ways. Neil Jordan's The Brave One (2007) pursued a more cerebral approach to the genre, attempting to intellectually or philosophically justify its themes of revenge. Then in 2009, Law Abiding Citizen, took the theme of retribution to extreme levels, with a farfetched plot and outrageously contrived death scenes. Sitting in-between these two movies was James Wan’s Death Sentence, which put a contemporary spin on what was essentially a very eighties style of movie. Sadly, the film did not garner much attention at the time, with the press quick to dismiss it as exploitation fodder dressed up in studio trappings. Yet the film is more than that mainly due to the lead performance by Kevin Bacon.
Urban vigilantes have always been a mainstay of exploitation cinema. Then in 1974, the commercial success of Death Wish brought the revenge thriller sub-genre in to the mainstream. It succinctly tapped into the public's fear of urban decay, escalating crime rates and an impotent justice system. However, in recent years the tide of lawlessness has broadly turned and the public's views on crime and punishment have been tempered. Subsequently the appeal and relevance of vigilante genre has waned. However, a decade ago there was brief resurgence of movies that tackled this thorny issue, although they did so in different ways. Neil Jordan's The Brave One (2007) pursued a more cerebral approach to the genre, attempting to intellectually or philosophically justify its themes of revenge. Then in 2009, Law Abiding Citizen, took the theme of retribution to extreme levels, with a farfetched plot and outrageously contrived death scenes. Sitting in-between these two movies was James Wan’s Death Sentence, which put a contemporary spin on what was essentially a very eighties style of movie. Sadly, the film did not garner much attention at the time, with the press quick to dismiss it as exploitation fodder dressed up in studio trappings. Yet the film is more than that mainly due to the lead performance by Kevin Bacon.
Loosely based on the Brian Garfield novel, Death Sentence starts with successful risk analyst Nick Hume (Kevin Bacon) taking his eldest son to his Hockey match. A chance stop at a Gas Station on the wrong side of town, ends with his son being murdered by a gang. The impact upon the Hume family is immediate and as the parents grieve for their eldest, they seem to overlook the needs of their youngest son. When the perpetrator is arrested, the DA feels that he cannot secure a life time conviction and aims to plea bargain for a shorter sentence. Furthermore, it becomes apparent that robbery was incidental and the murder of Hume’s son was a gang initiation ritual. At the pre-trial hearing, Hume deliberately implies uncertainty in his own evidence, securing a dismissal for the prime suspect. Hume then rashly plots and hastily carries out his revenge, only to make matters far worse for himself and his family.
Although Death Sentence is a thriller with strong action scenes, it does not totally capitulate to the baser needs of the genre and tries to explore the subject matter with a degree of rigour. Kevin Bacon is credible as a man whose job is based around numbers, risk and statistical balance. Although he may not know how to fight, his intelligence makes him a dangerous wild card. Yet, where other movies would simply have him glibly triumphing over his foes, director James Wan shows that there are consequences to his actions. Hume makes several errors that allow the gang to identify him. Tragedy begets tragedy and retributions comes with little satisfaction. It is here that Bacon excels, delivering a credible and sympathetic performance as a man out of his depth, driven purely by his convictions.
Technically, Death Sentence is well constructed. There is a notable chase scene that takes the audience through litter strewn alley ways, a restaurant kitchen, ending in a multi-storey carpark. There is a superb three-minute tracking shot by cinematographer John R. Leonetti, that really places the viewer in to the middle of the action. The set pieces are also well conceived and gritty. Nick Hume is an academic, not a fighter, yet he’s smart enough to use what is available as make shift weapons. In one scene, he literally pulls the rug out from under a gang member pointing a gun at him. The violence is relatively realistic and grim, which is appropriate given the subject matter. There is a particularly nasty shotgun amputation, which trumps a similar scene in Steven Seagal's Out for Justice. An obvious homage to Taxi Driver is also crow barred into the proceedings. One particular aside amused me, where our Hume familiarises himself with the firearms he bought by reading the manual. It not as preposterous as it initially seems.
Death Sentence also benefits from an interesting supporting performance from John Goodman, playing against established preconceptions, as a sleazy gun dealer. His slow and measured delivery of his lines is entertaining and he has an amusing soliloquy about the death, revenge and cash paying customers. Garrett Hedlund has less to do as the story’s main antagonists, Billy Darley. The complex relationship he has with John Goodman is only hinted at and would have been an interesting angle to explore further. Too often, genres such as this coast somewhat when defining their villains. It is easy and convenient to establish a character’s evil intent simply by them committing an act of violence. Similarly, most of the gang are merely cannon fodder. Also, Detective Jessica Wallis (Aisha Tyler), who is investigating the Hume case, is more of a expositionary device than a fully rounded character.
However, despite some rough edges and lazy trappings from the exploitation genre, Death Sentence still manages to do something sufficiently different. It certainly is not meant to be a serious social or political study of crime and punishment. Conversely, it’s not a tacit endorsement of personal justice, like Michael winner’s movies. It offers a contemporary entry point into the vigilante genre for a whole generation of viewers who are unfamiliar with movies such as Death Wish or The Exterminator. It also showcases a change of direction for James Wan, who is usually associated with horror movies. Out of the two cuts of the film that are available, I would suggest that the unrated version is better than the theatrical cut. In this instance, there is no extra action or violence. Just five minutes of additional scenes that bolster the narrative. A nominal change made to the final scene also offers a definitive and sombre ending.
City of Vice (2008)
After recently catching up with Ripper Street, I felt the need for more period set crime drama so decided to revisit City of Vice. This Channel 4 series from 2008 explores the true story of Henry and Sir John Fielding, the crime-fighting magistrate brothers who created Britain’s first police force. Eighteenth century London was a violent den of brothels, murderers and street gangs. The city endured crime rates of epidemic proportion. It fell to Henry Fielding, the author of the novel Tom Jones and his half-brother Sir John, a leading social reformer, to bring order to the streets. In 1749 Parliament permitted the magistrate brothers to put together a small constabulary to clean up London.
After recently catching up with Ripper Street, I felt the need for more period set crime drama so decided to revisit City of Vice. This Channel 4 series from 2008 explores the true story of Henry and Sir John Fielding, the crime-fighting magistrate brothers who created Britain’s first police force. Eighteenth century London was a violent den of brothels, murderers and street gangs. The city endured crime rates of epidemic proportion. It fell to Henry Fielding, the author of the novel Tom Jones and his half-brother Sir John, a leading social reformer, to bring order to the streets. In 1749 Parliament permitted the magistrate brothers to put together a small constabulary to clean up London.
City of Vice luridly shows that the criminal activity of contemporary London is nothing compared to the 18th century. Gangs of cut throats roam the streets, robbing, raping and murdering with impunity. Home invasions are common place. Prostitution and pedophilia are rife. The inequalities between the rich and the poor are starkly shown and crime was an unpleasant reality that many just accepted. Based on Henry Fielding’s diaries and contemporary sources such as the Old Bailey Sessions Papers, City of Vice is designed to provide a lurid counterpoint to rival period dramas. The world of Jane Austen is violently contrasted.
The lead performances by Ian McDiarmid and Iain Glen are strong and carry the stories well. The five episodes are suitably grim and have a very dour tone to them but given the subject matter there's no other viable way to portray them. Yet despite the nature of the series, it found favour with both critics and the UK audience, achieving nearly three million viewers. The Times described it as "an antidote to the current spate of twee costume dramas" and "more likely to resonate with cynical modern audiences". However, the exploration of certain subjects did not find praise from all quarters leading to complaints from Mediawatch-UK.
City of Vice has taken certain historical liberties for the sake of drama, as so many TV shows do but the basic historical premise is sound. It is interesting to see that human vice is universal and that it’s not just the product of the modern world. Furthermore, it is paradoxical that the judicial system of the time is seen to be equally as cruel as the criminal element that it seeks to eradicate. Overall this was a very good show, yet despite both critical acclaim and good ratings, there has not been a second series to date. The production costs were more than likely a contributing factor. Unlike other costume drama's there are no suitable Georgian slums that can be used for filming. So, for those who did not see City of Vice first time round, the DVD is recommended.
Contracting Out Work in LOTRO
I recently decided to focus upon crafting on my new Hunter. I’ve opted for the explorer professions on this character as refining raw material is always a good way of making in-game gold. However, over recent weeks I’ve focused on levelling and have not processed any wood or ore from the various zones that I worked through. Thus, last week I found myself in Eregion and I couldn’t mine any of the ore nodes or gather timber. If I wanted to progress, I had to consider the following options. I could return to the starter zones and farm the resources I needed then process them, unlocking the next levels. Or I could buy what stocks of wood and ore that I required from the auction house and again work through the crafting tiers. The first option didn’t really appeal to me and the second was dependent on stock levels of various resources on Auction House. So, after some thought I decided the best alternative was to contract out the gathering work.
I recently decided to focus upon crafting on my new Hunter. I’ve opted for the explorer professions on this character as refining raw material is always a good way of making in-game gold. However, over recent weeks I’ve focused on levelling and have not processed any wood or ore from the various zones that I worked through. Thus, last week I found myself in Eregion and I couldn’t mine any of the ore nodes or gather timber. If I wanted to progress, I had to consider the following options. I could return to the starter zones and farm the resources I needed then process them, unlocking the next levels. Or I could buy what stocks of wood and ore that I required from the auction house and again work through the crafting tiers. The first option didn’t really appeal to me and the second was dependent on stock levels of various resources on Auction House. So, after some thought I decided the best alternative was to contract out the gathering work.
Laurelin is a busy role-play server with a lot of new players. Many of whom are time rich and gold poor. The hyperinflation you’ll find in a decade old MMO, put’s new players at a disadvantage. As a longtime LOTRO player the one thing I do have is substantial gold reserves. Let it suffice to say that after a quick conversation in the trade channel, I secure three eager players who were happy to go to the various zones and farm ore, wood and hides for me. Within an evening, I had sufficient materials to unlock all processing tiers I required. The cost was 300 gold and a few class specific items that I had been stock piling for exactly such an occasion. The players I contracted went away content as they felt that they had been adequately rewarded and had gained XP while farming for me. All round, it was a “win, win” situation.
Having played LOTRO for years, although I still find a lot of the game’s arbitrary tasks enjoyable, some can be a little tedious. However, I must admit I had a lot of fun arranging this recent outsourcing of work. It reminded me of the halcyon days of LOTRO when raiding was still a big thing. I used to buy morale and power potions when they were cheap and then sell them high over the weekend when people would play through group content. I always found auction house speculation an amusing mini game and suspect that regular contracting out of gathering tasks may serve a similar purpose. Furthermore, isn’t this a classic example of so-called “emergent content” that stems from player interaction in MMOs? Although there may be a few purists who frown on such activities, I think you have to take your pleasures, where you find them, be it in LOTRO or any other MMO.
Tape 407 (2012)
I really won't be sad to see the back of the found footage sub-genre because it really is becoming an over saturated market at present. For example, at the last count there were six Paranormal Activity movies, with their respective quality inversely proportional to their number in the franchise. Yes, there are the occasional good ones, such as the recent Operation Avalanche, which tackled conspiracy theories and the Moon Landing. But broadly speaking, this genre has become a dumping ground for cheap and uninspired movies, by mediocre film makers, out to make a fast buck. Take for example Tape 407 (AKA Area 407). It’s chosen twist on the genre is the inclusion of included dinosaurs. I was hoping that this would make the film sufficiently different to others and offers something new. Predictably it did not.
I really won't be sad to see the back of the found footage sub-genre because it really is becoming an over saturated market at present. For example, at the last count there were six Paranormal Activity movies, with their respective quality inversely proportional to their number in the franchise. Yes, there are the occasional good ones, such as the recent Operation Avalanche, which tackled conspiracy theories and the Moon Landing. But broadly speaking, this genre has become a dumping ground for cheap and uninspired movies, by mediocre film makers, out to make a fast buck. Take for example Tape 407 (AKA Area 407). It’s chosen twist on the genre is the inclusion of included dinosaurs. I was hoping that this would make the film sufficiently different to others and offers something new. Predictably it did not.
Tape 407 starts aboard a plane with a motley collection of passengers travelling from New York back to Los Angeles. We meet film student Jessie (Samantha Lester) and her annoying younger sister Trish (Abigail Schrader), Journalist Jimmy (James Lyons) and irritable passenger from hell Charlie (Brendan Patrick Connor). After some rather pedestrian back story and character exposition the plane crashes in a somewhat remote desert region along its route. The survivors bicker and squabble and continuously talk across each other as they try to thrash out a survival strategy. One passenger goes looking for the other half of the plane. Screams and animal noises are later heard in the night. It quickly becomes clear that there are multiple predators on the loose.
There are brief flashes of inspiration in Tape 407, as well as a great deal of shouting and strident arguments conducted in a very American manner. It’s annoying and grating on the ear but certainly has a note of realism about it. The survivors slowly put aside their differences as they finally realise the magnitude of their predicament and attempt to work collaboratively. However, this aspect of the storyline is under developed and further hampered by a cast of characters I didn't really care for. Futhermore, the shocks are somewhat obvious, surprisingly understated and tame. As for the dinosaurs, which appear to be the result of a government experiment, precious little is seen. You simply can't skimp on plot device like this if it’s the movies selling point.
There's a fine line between being ambiguous and letting the audience fill in the blanks as opposed to allowing gaping plot holes. By the time I reached the end of Tape 407, I was annoyed by the lack of information, disappointed by the absence of carnivorous reptiles and thoroughly pissed off with the protagonists. The only worthy character, Air Marshall Laura (Melanie Lyons), was dispatched in a very mean spirited way. Mercifully the director opted for an appropriately downbeat dénouement so the remaining cast where subsequently killed off, offering an unexpected highpoint to a formulaic and unremarkable ninety-minute pot boiler.
I don't know whether budgetary restraints or simply the notion that less is more, where the reason the production was so shy of showing the dinosaur antagonists. If it was, then directors (Dale Fabrigar and Everette Wallin) intention to sideline them so they could focus on the human dynamics, was a very poor decision. Overall the slow pacing, noisy performances and frustrating characters as well as lack of action, torpedoes Tape 407. Viewers are left with a rather dull, predictable and lacklustre movie. I'd like to say that this will be the last found footage I'll be watching for a while but I have a suspicion that due to the cost effective nature of the format, they’ll be churning them out for a while yet.
Register to Vote
A third of registered voters in the UK do not vote in either Local or General Elections. Out of an electorate of approximately 46,200,000 that is 15,700,000. Yet despite this substantial group not participating, it is seldom covered or discussed in the media. It is usually just written off as “voter apathy”, implying that those who did not cast their ballot are feckless, lazy or stupid. Not only is this patently untrue, not voting has major consequences. If this group of people were engaged and voted in the upcoming general election, then it would have a tangible impact upon the results. By not voting you are effectively giving the next UK government carte blanche to ignore your interests and pursue their own agenda. As Leonardo da Vinci famously said, "Nothing strengthens authority so much as silence".
A third of registered voters in the UK do not vote in either Local or General Elections. Out of an electorate of approximately 46,200,000 that is 15,700,000. Yet despite this substantial group not participating, it is seldom covered or discussed in the media. It is usually just written off as “voter apathy”, implying that those who did not cast their ballot are feckless, lazy or stupid. Not only is this patently untrue, not voting has major consequences. If this group of people were engaged and voted in the upcoming general election, then it would have a tangible impact upon the results. By not voting you are effectively giving the next UK government carte blanche to ignore your interests and pursue their own agenda. As Leonardo da Vinci famously said, "Nothing strengthens authority so much as silence".
I fully understand why people do not vote and are generally exhausted with the state of UK politics. Political discourse at present is devoid of any depth, substance or intellectual rigour. It is rife with spin and soundbites. False and spurious narratives are driven home by the tabloid press and the subtle complexities of domestic and foreign policy are distilled down to bogus binary choices. Furthermore, the major parties are all beyond their sell by dates and they know it. However, the archaic first past the post voting system favours them and not the electorate, so you’ll more than likely not see a change in electoral procedure for a while. Plus, we also have an ageing population that still cleave to outdated tribal allegiances which also skews matters further. Simply put, UK politics is a mess, especially if you wish to see change driven my intelligent discussion and an ethical consensus.
However, we are now facing a major crossroads in UK history, with Brexit. Whether you voted for it or not is now arbitrary. The realities of our countries exit from the EU needs to addressed calmly and by those who can genuinely obtain the best deal for the UK. Therefore, whatever government is in power after 8th June, needs to be scrutinised and held to account over every stage of Brexit. Therefore, it is extremely important that as many people turn out and vote on election day as possible. You can choose to vote for a specific party is you feel that they are best suited for the job, or vote tactically if you feel that will achieve a better outcome. If you feel that none of the candidates from the major parties suit your needs, then look to the smaller interest groups. If you find yourself in a serious moral quandary over who to vote for, then you can always spoil your ballot or write “none of the above”. The number of spoilt ballots is always noted and at the very least you have undertaken your duty as a UK citizen and turned up to vote. It’s not your fault that all the candidates are an utter shower.
So, if you are not currently registered to vote in the UK, then I would urge you to do so now. You have until 11:59 PM on Monday 22nd May. You can either contact your local borough council, or register online via the government website. The process is straight forward and takes about five minutes. The only details you need provide are you name, full address (including postcode), date of birth and National Insurance number. You can choose to either go to the polling station on election day or vote by post if you prefer. If you choose not to vote then you are effectively throwing away the only leverage you have as a citizen. Politicians primarily care about remaining in office, thus have an interest in registered voters. It can also be cogently argued that if you don’t vote and subsequently do not like the policies that are implemented because they impact upon you adversely, then you brought it upon yourself. Don’t give the next government a blank. Register to vote and have your say, even if your say is just “sod off”.
The A-Team Unrated Extended Cut (2010)
Despite an excess of CGI driven action scenes, Joe Carnahan's reboot of the iconic eighties TV show The A-Team, still manages to capture elements of the original. The plans are complex but come together and there are improvised devices and munitions made from sundry items. Due to the strong cast, there is also a good dynamic between the lead characters. It's all very loud, incredibly stupid, yet surprisingly entertaining. Don't get me wrong, this far from a hidden gem. Merely an enjoyable, bombastic exercise in cinematic self-indulgence,
Despite an excess of CGI driven action scenes, Joe Carnahan's reboot of the iconic eighties TV show The A-Team, still manages to capture elements of the original. The plans are complex but come together and there are improvised devices and munitions made from sundry items. Due to the strong cast, there is also a good dynamic between the lead characters. It's all very loud, incredibly stupid, yet surprisingly entertaining. Don't get me wrong, this far from a hidden gem. Merely an enjoyable, bombastic exercise in cinematic self-indulgence,
The A-Team are now Iraq War veterans but the essential traits of the main characters are still there. Bradley Cooper takes to the roll Templeton Peck like a duck to water. Liam Neeson is suitably gruff as Hannibal Smith. But I actually found Sharlto Copley and Quinton Jackson as Mad Murdock and Bosco B.A. Baracus, to be the most absorbing protagonists. Although the script is hardly a masterpiece its greatest strength is the interplay among the team itself. Copley performance is strong and more than just arbitrarily quirky. Jackson also had more to do than just be a bad ass and I warmed to his storyline and personal conflict.
Another aspect of The A-Team that I enjoyed was at how at times, it felt like a throwback to sixties caper movies and a variation on the heist sub-genre. The humourous undertone also did a lot to make the over the top nature of some of the set pieces a little more palatable. The plot regarding stolen plates for printing bank notes, inter-governmental department duplicity and international globetrotting is self-indulgent and at times clumsily telegraphed for those who may have been napping. But when one considers the original TV show, that to was hardly an exercise in subtlety and restraint. Overall The A-Team is sufficiently different enough not to be just straight forward PG-13 action fodder.
The Unrated Extended cut of the movie runs eighteen minutes longer than the theatrical version and mainly contains longer scenes of plot exposition and dialogue, rather than violence. One action sequence does feature some additional footage of contract soldiers being shot whilst in their car, but it happens at night and is light on detail. There are some a few more instance of stronger language, as well. Full details of the differences can be found over at Movie-Censorship.com along with screen captures. The longer running time does make The A-Team a more rounded picture and therefore this is the cut I would recommend.
What is Your Favourite Bond Title Song?
There are many subjects that when mentioned will quickly start an argument. Who’s the best Doctor Who? (and it isn’t David Tennant), do Balrogs have wings? (no, read the text again) and of course that old chestnut, “Data or Spock?”. Then there’s the thorny issue of Bond film title songs. We now have twenty-four to choose from. Obviously, your age group and musical preferences will shape your opinion. As well as when you started viewing the franchise. I personally have very particular views on the subject, hence this post. So here for your edification are five of my personal favourites, each with a few thoughts about why they are of merit. Feel free to leave comments with your own opinions. I’m sure we won’t fall out over the matter. Unless you like Sheryl Crow.
There are many subjects that when mentioned will quickly start an argument. Who’s the best Doctor Who? (and it isn’t David Tennant), do Balrogs have wings? (no, read the text again) and of course that old chestnut, “Data or Spock?”. Then there’s the thorny issue of Bond film title songs. We now have twenty-four to choose from. Obviously, your age group and musical preferences will shape your opinion. As well as when you started viewing the franchise. I personally have very particular views on the subject, hence this post. So here for your edification are five of my personal favourites, each with a few thoughts about why they are of merit. Feel free to leave comments with your own opinions. I’m sure we won’t fall out over the matter. Unless you like Sheryl Crow.
First and in no order of preference we have Goldfinger. Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, this iconic song was performed by Shirley Bassey (although it was originally intended that Newley would record it). Like the film, it was a huge commercial success in both UK and US music charts. What can be said about this song, other than the fact that it personified the emerging Bond franchise at the time. Well it’s brassy and ballsy, plus Bassey's delivery of the lyrics is superb. The whole song just oozes sixties cool and has subsequently become indelibly associated with the series. Curiously enough, despite the songs success, Barry and Bricusse only collaborated on one further Bond title song.
Next, we have my first of our controversial choices, because technically this is not a song from one of the film, but from an 007 game. However, before you all start spitting tacks and writing to your duly elected representative, I would point out that Bloodstone was an officially sanctioned product. Plus I really like this track and it is my blog, so there! Being editor has to have some benefits. I'll Take It All written by Dave Stewart and Joss Stone and performed by Joss Stone herself, is a solid Bond title song that understands the idiom and legacy of the franchise. It is yet another example of how the gaming industry equals the production values of the movie business. I'll Take It All is smart, powerfully delivered and could easily have graced the title credits in one of the more recent Bond films.
1977 saw the release of the biggest Bond film to date, namely The Spy Who Loved Me. Nobody Does It Better, a power ballad composed by Marvin Hamlisch with lyrics by Carole Bayer Sager, was performed by Carly Simon. It was the first Bond theme song to be titled differently from the name of the film, although the phrase "the spy who loved me" is included in the lyrics. In some ways, this song is the complete opposite of Goldfinger, representing what Bond had become in the seventies. It is a very sexual and self-assured composition, verging on self-parody. Therefore, is perfectly enshrines the Roger Moore years and is also a damn fine song in its own right.
Here is another wild card. The 1969 Geroge Lazenby Bond film, On Her Majesties Secret Service, differed from most others by having an instrumental theme song, played over the titles. Composer John Barry opted to use more electrical instruments and crafted a slick instrumental based around a Moog synthesizer and under pinned by his peerless use of brass. This musical piece is both clever and stylish and certainly imbued this particular Bond outing with a subtly different ambience. But On Her Majesties Secret Service was not a typical Bond film and has in recent years been re-evaluated. It is more thoughtful and experimental, which is exactly what Barry brought to the table with his core and main theme.
Finally, we have a personal favourite of mine, You Know My Name. This intelligent, strong and enigmatic song performed by ex Soundgarden frontman Chris Cornell, fits perfectly into the title of the 2006 Bond reboot Casino Royale. Written by David Arnold and Cornell himself, it has always amazed me that the film’s producers allowed such an experimental (by Bond standards) approach to the title song. The song itself is oblique and somewhat discordant, yet it encapsulates the new Bond of the twenty first century. Gone is the smug caricature. We now have a song that explores the social isolation and the uncertainty of carrying a license to kill. This track perfectly complements Daniel Kleinman's opening credits and sets a new standard for the franchise.
Stunt Masterclass with Vic Armstrong at the BFI (2009)
From time to time, I trawl through the various content that I've archived from all my previous blogs and websites. During one such search, I recently found a post I had written in 2009 after attending an event at the British Film Institute. Stunt Masterclass with Vic Armstrong, was held on Saturday May 2nd of that year and I remember it being an especially interesting interview with the UK's leading Stunt Co-ordinator and 2nd Unit Director. The event was chaired by the writer Mark Salisbury and consisted of an in-depth interview followed by an audience Q&A session. Here's how I originally summed up the evening:
From time to time, I trawl through the various content that I've archived from all my previous blogs and websites. During one such search, I recently found a post I had written in 2009 after attending an event at the British Film Institute. Stunt Masterclass with Vic Armstrong, was held on Saturday May 2nd of that year and I remember it being an especially interesting interview with the UK's leading Stunt Co-ordinator and 2nd Unit Director. The event was chaired by the writer Mark Salisbury and consisted of an in-depth interview followed by an audience Q&A session. Here's how I originally summed up the evening:
Yesterday I had the opportunity to see one of the great names in the British film industry; namely Vic Armstrong. Veteran Stuntman/double, Stunt Co-ordinator and now leading 2nd Unit Director. Mr. Armstrong's extensive CV speaks for itself. The event was held by the BFI at their Southbank venue, as part of their ongoing season dedicated to Bond producer, Cubby Broccoli. The lecture was moderated by journalist Mark Salisbury.
Vic was informative, witty, and very down to earth. Completely the opposite to the public perception of stuntmen, fashioned by such Hollywood films as Hooper. He talked on how he got his break within the industry and those who were influential on his career. He had a wealth of anecdotes but never once strayed into "luvvies, darling" territory.
The session ran for a generous 100 minutes, with a selection of film clips, ending with questions from the audience. These were mercifully free from "fanboys", although an opportunist Dutch stuntman did offer Vic his resume, which raised a wry smile. The lecture also benefited from good moderation by Mark Salisbury. He asked pertinent questions and allowed Vic to express his views clearly. All in all, a very good event from the BFI. It was a shame it wasn't better attended.
I attended a lot of these sort of events at the time and frequently went with a colleague who would surreptitiously make an audio recording with a digital recorder. To cut a long story short I've managed to track down the original audio file and have posted it below. Sadly, the sound quality is not particularly good, although I have done my best to remove some of the background noise. I have also edited out the movie clips that were shown, as they were deafeningly loud. After eight year’s I still consider this one of the best events I have ever attended at the BFI. The interview offers a great insight in to Vic Armstrong's body of work and the way the film industry works.
The Decline of the British Front Garden
My parents still live in the house they bought when they got married in 1960. It’s three bedrooms, end of terrace house in a leafy suburb, in South East London. Built in the 1930 as family homes, the street is still predominantly populated by owner occupiers; mainly couples raising families. Yet there is one change that has occurred in my life time that is very noticeable. Over the last forty years the front gardens have all but vanished to be replaced with drives and other kinds of off road parking. Out of approximately a hundred homes in the street, at present only three still have a front garden in the traditional sense. My parent’s house is one of these but this is soon to change.
My parents still live in the house they bought when they got married in 1960. It’s three bedrooms, end of terrace house in a leafy suburb, in South East London. Built in the 1930 as family homes, the street is still predominantly populated by owner occupiers; mainly couples raising families. Yet there is one change that has occurred in my life time that is very noticeable. Over the last forty years the front gardens have all but vanished to be replaced with drives and other kinds of off road parking. Out of approximately a hundred homes in the street, at present only three still have a front garden in the traditional sense. My parent’s house is one of these but this is soon to change.
My Father gave up driving soon after he retired in the late nineties. Up until then he was always content to park his car in the garage that is at the rear of his property, at the end of the back garden. There is a connecting alley way that runs parallel to the road where he lives. However, over the years, many resident found that the pre-war garages were too small to adequately accommodate contemporary vehicles and many also wished to get rid of them antiquated building materials. Thus, over time, more and more households have elected to give up their front gardens and park directly outside their front door. It should be noted that in my parent’s borough, before you build your drive, you must first apply to the local council to have the kerb dropped in the street and the pavement outside your home replaced with asphalt.
Both my parents are now in their late eighties and disabled. My Father had two strokes last year and is dependent on twice daily visits by the district nurse. Health visitors, dieticians and physiotherapists regularly call, so after a family discussion it was decided to finally make the change and after fifty-seven years give up the front garden. Furthermore, to accommodate the dropped kerb, a tree on the grass verge will have to be removed. Technically, the road in which my parents live is an Avenue so it is allegedly supposed to be lined with trees. However, over the years many trees have gone as well as front gardens. Both these situations do not sit well with me. I appreciate the realities of modern life and the nature of change but the decline of the British front garden has wider effects, other than just encouraging nostalgia.
My parent's road circa 1983
Over the past decade, the number of front gardens in the UK with gravel or paving instead of grass has tripled, now making up a quarter of all houses, a survey for the Royal Horticultural Society shows. This change is a contributory factor to the increase in flash flooding seen in urban areas. Furthermore, the loss of vegetation and grass from our streets also impacts upon city temperatures. The artificial surfaces absorb and retain or reflect the heat, contributing to the Urban Heat Island Effect. There is also a tangible impact upon wildlife and wider biodiversity. Certain species can no longer find a viable habitat with so many gardens gone.
Then of course there is the social and community aspect of this matter to consider. During the seventies, my Mother spent many an hour maintaining the front garden, mainly for pleasure, as she’s always been a keen amateur gardener. However, she also ensured that the lawn and flower beds were in good order due to the prevailing social conventions of the time. I won’t arbitrarily write these cultural habits off as bad things. The street was a lot more pleasing to the eye due to residents Rose bushes and fruit trees. It wasn’t unusual for passers-by to stop and exchange pleasantries regarding a well moved lawn. All these incidental conversations and good will were beneficial for the local community. It brought people together and forged bonds between neighbours.
However, time and tide waits for no one and the proliferation of cars over the last forty years has forced change. There are currently more than 38 million licensed vehicles on the UK's roads. Fifty years ago, there were only 11 million. Estate agents will often cite that off-street parking is a selling point to potential buyers. In areas where parking is at a premium, it can add substantial value to a property. Plus, people need a storage area for their waste and recycling bins. This is especially true in our Borough as we have two wheelie bins and three recycling boxes to accommodate. Gardening has also been side-lined as leisure activity for many household now, due to increased working hours and alternative, less arduous pastimes. So, we simply have to endure the decline of the British front garden because, there doesn’t seem to be any practical means to bring them back. It’s a shame in many respects because I think the suburbs have lost more than just character as a result.
LOTRO: The Codemasters Years
On 23rd February 2013 I was invited along with several other members of the LOTROCommunity (AKA the unofficial forums) to listen to an online talk from a former Codemasters employee. It was regarding their involvement with the European service of The Lord of the Rings Online between 2007 and 2011. Sincilbanks (their forum name at the time) was online customer services manager and during their tenure oversaw the daily administration and support of the game for non-US customers. The discussion provided a very interesting insight into the running of the MMO and and drew attention to clear ideological and business differences between Codemasters and Turbine at the time. It also highlighted the significance of EU customers to Turbine and answered some of the questions that have persisted over the years regarding the disparity between the two services.
On 23rd February 2013 I was invited along with several other members of the LOTROCommunity (AKA the unofficial forums) to listen to an online talk from a former Codemasters employee. It was regarding their involvement with the European service of The Lord of the Rings Online between 2007 and 2011. Sincilbanks (their forum name at the time) was online customer services manager and during their tenure oversaw the daily administration and support of the game for non-US customers. The discussion provided a very interesting insight into the running of the MMO and drew attention to clear ideological and business differences between Codemasters and Turbine at the time. It also highlighted the significance of EU customers to Turbine and answered some of the questions that have persisted over the years regarding the disparity between the two services.
One of the first things discussed was the size of the EU service during the Codemasters years, which was comparable to that of the US during this period. Furthermore, over half of the EU service were German or German-speaking. LOTRO was a subscription game at the time and therefore this regional market had a sizeable value attached to it. As a result, Turbine wanted to buy the Online department of Codemasters in 2009. The deal did not go through as an agreement could not be reached upon that value. Some interesting details regarding the business setup also emerged. Codemasters Online was a small and autonomous department within the wider company, managing several licensed MMOs such as ArchLord, RF Online and LOTRO. Unlike other divisions of Codemasters, the subscription business model and the focus upon peak concurrent users meant that revenue was regular and more reliable. Traditional games finances are more associated with targeted and specific sales windows.
A point that came up quite quickly was the way the EU service under Codemasters would often hold in-game events, had a more flexible approach to account hacking and seemed to have a more proactive group of GMs. During the course of the discussion it became clear that Turbine had less GMs and that they were less knowledgeable regarding LOTRO. The servers had a great deal of functionality built into them which allowed for ad-hoc activities. Codemasters staff were very au fait with this but Turbine were constantly reticent to allow these features to be used. There was a fear of server crashes and a loss of service. The US customer services were very much focused on the cost per ticket ratio and anything that impacted upon that. US businesses are also more culturally risk averse in this area for legal reasons. Hence the North American service of LOTRO was very much bound by procedure. Codemasters Online had to push hard for any activity involving direct player interaction and even securing dedicated role play servers.
The subject of F2P and the infamous EU transition proved to be perhaps the most intriguing. The launch of the new business model for European players was delayed by nearly two months. As most people suspected at the time it came down to legal complications and the practicalities of localisation. Apparently a lot of the better aspects of the free to play business model were suggested by Codemasters because of their experience with other titles. Bind on acquire store items and 30 days support from the last purchase are examples of these. When Turbine successfully consolidated the EU service into their Global initiative, Codemasters Online naturally did their best to facilitate that process and offer viable support.
Concerns were legitimately raised with regard to Turbines ability to meet the needs of European customers. EU players are governed by different consumer laws and have a proactive mindset regarding their consumer rights. Multi language support was a key factor in the transition. EU customers have often been very outspoken regarding the quality of localisation which they feel has now dropped. It should also be noted that there are cultural considerations when dealing with non-North American countries. This is due to cultural differences regarding both complaining per se and atttitudes towards consumer rights. During Codemasters stewardship of LOTRO, the highest player to ticket ratio was generated by German customers. On hindsight Turbine may not have been fully prepared for such regional differences.
Finally some other points of interest that emerged where the respective roles of Warner Bros. who acquired Turbine in 2010 and that of the Tolkien Estate. It was stated that Warner Bros. where not a major presence and that there was no immediate change in relationships between all parties as a result of the acquisition. It will come as no surprise that the Tolkien estate were robust in the defence of their IP and maintained the same stance as they have always done. The informal chat with Sincilbanks ran for about 100 minutes and was punctuated by relevant and measured questions from those present. This event was not in any way a tirade of abuse or recrimination. Nor did it seek to claim that one service was superior to the other. It was simply a personal perspective upon the European version of LOTRO, from the games launch in 2007 until May 2011. A period of time the speaker considered to be the best of their working life.
Sniper Elite 4
I first discovered the Sniper Elite franchise back in 2014, when Steam gave away free keys for Volume 2 as part of a promotion. I enjoyed the game so much I purchased all the available DLC. Having regularly played both Call of Duty and Battlefield, it was a pleasant change at the time, for a game to be set during World War II. Later that year I bought, Sniper Elite 3, as it offered a far more polished gaming experience, compared to earlier instalments. Furthermore, the story was set in North Africa; a theatre of war that is often neglected in multimedia. Although the plot was somewhat arbitrary, Sniper Elite 3, like its predecessor, still offered an immersive gaming experience with an emphasis on situational awareness and stealth. The franchise has never been about “running and gunning” and favours the patient and methodical player.
I first discovered the Sniper Elite franchise back in 2014, when Steam gave away free keys for Volume 2 as part of a promotion. I enjoyed the game so much I purchased all the available DLC. Having regularly played both Call of Duty and Battlefield, it was a pleasant change at the time, for a game to be set during World War II. Later that year I bought, Sniper Elite 3, as it offered a far more polished gaming experience, compared to earlier instalments. Furthermore, the story was set in North Africa; a theatre of war that is often neglected in multimedia. Although the plot was somewhat arbitrary, Sniper Elite 3, like its predecessor, still offered an immersive gaming experience with an emphasis on situational awareness and stealth. The franchise has never been about “running and gunning” and favours the patient and methodical player.
This spring saw the release of Sniper Elite 4 which offers yet another refined and improved version of the game. The action this time is set in Italy, leading up the Allied Invasion. Like the previous three games, Sniper Elite 4 is based around completing a series of missions through stealth, sniping and guerrilla tactics. The x-ray killcam is still present in all its gory glory, as well as the option to set booby traps. The weapons are authentic and varied. Customisations are unlocked by progress and there’s a rudimentary skills tree. However, developer Rebellion, have made two significant changes. The maps are now much larger and have an open world format. Objectives can be done in any order. Furthermore, climbing now plays a bigger role in the game, allowing a greater use of the environment.
Where Call of Duty goes to great length to offer players a complex narrative in campaign mode, Sniper Elite has always favoured a more simplistic approach. That’s not to say the story driving the game is bad, as it is not. It just not anything special. The character animations are effectively motion captured and the voice acting is adequate. It’s the gameplay experience that generates the excitement and fun. At times Sniper Elite 4 feels like a virtual sixties war movie. The music cues are well timed and certainly increase the tension as you stalk your prey. Conversely, if you make a mistake and blow your cover, the ambient atmosphere really creates a sense of fear. Remember this is a game where the enemy will triangulate your position if you fire more than three shots from the same place. Also, if you kill a stray guard, don’t forget to hide the body. Unless you want to booby trap it.
Although there are only eight missions to the main campaign, they are substantive, varied and replayable. The maps include such diverse locations as a hillside village, a naval base and an underground factory. With a competent graphics card the game does look rather handsome. There are also more in-depth co-op and multiplayer elements to Sniper Elite 4 that address the campfest problems that featured in earlier versions of the game. Another novel feature is the ability to play through the campaign collaboratively, with another player. I would recommend new players to spend some time at the in-game firing range to test each weapon, before committing to a loadout. The rifles all handle differently and it’s important to find one that suits your style and methodology.
Sniper Elite 4 is a refreshing change of scene and pace for games of this genre. If you approach the game with a traditional FPS mentality then you will often fail the missions and not experience the best elements of the game. There are still bugs here and there with some of the gunshot ballistics being over powered. Vehicle and enemy AI is sometimes questionable and you may find yourself raising the difficulty setting to overcome them. However, biding one’s time can still provide great game play experiences. Luring enemies into a booby-trapped chokepoint can be especially satisfying. Plus, the new melee stealth kills are great fun. However, I still get a big kick out of long range rifle shots while masking the gunfire with environmental noise. My best Ghost kill is 239 metres.
Overall Sniper Elite 4 is a superior third person stealth game due to its atmosphere, tactical elements and nominal sandbox approach. This latest instalment is certainly the best version of the game to date. Developers Rebellion have successfully improved both its performance and accessibility, very much like CD Projekt Red have refined The Witcher series. Sniper Elite 4 at times reminds me of Hidden and Dangerous 2, which is a game I hold in high esteem. As I previously mentioned, the game draws heavily from big budget sixties and seventies war movies. Think Where Eagles Dare, Operation Crossbow and The Guns of Navarone. Sniper Elite 4 exudes these sorts of vibes. If you’re feeling quite adventurous, try playing while listening to the soundtrack of a classic war movie as it really adds to the game play.
Filmed in Supermarionation (2014)
Trying to encapsulate any artists body of work is a difficult enough task in itself. To then attempt to distil all associated anecdotes, vignettes and legends, while dispensing with the apocrypha, complicates matters further. Yet that's exactly what film maker Stephen La Rivière has done. The documentary Filmed in Supermarionation, is possibly the definitive history of the work of Gerry Anderson from 1957 to 1968. This insightful, meticulously researched exploration charts the rise of AP Films from its humble beginnings, to the halcyon days of Thunderbirds and the studios transition to Century 21 Productions. It also sheds some light into how things rather rapidly came to an end in the late sixties..
Trying to encapsulate any artists body of work is a difficult enough task in itself. To then attempt to distil all associated anecdotes, vignettes and legends, while dispensing with the apocrypha, complicates matters further. Yet that's exactly what film maker Stephen La Rivière has done. The documentary Filmed in Supermarionation, is possibly the definitive history of the work of Gerry Anderson from 1957 to 1968. This insightful, meticulously researched exploration charts the rise of AP Films from its humble beginnings, to the halcyon days of Thunderbirds and the studios transition to Century 21 Productions. It also sheds some light into how things rather rapidly came to an end in the late sixties.
Because Gerry Anderson is such an iconic figure in the world of popular culture there have been many attempts to delineate his career. Rather than simply retread familiar ground, Stephen La Rivière focuses upon the production crew and tells the story from their perspective. Over the course of two hours viewers are treated to an extremely interesting reunion of writers, directors, voice artists and puppeteers as they revists the Slough industrial unit that was once the home of AP Films. The interviews and various talking heads are linked by some wonder new material featuring Lady Penelope and Parker (lovingly voiced by the original artists Sylvia Anderson and David Graham). There is also extensive archive interviews with the late Gerry Anderson himself.
It is fascinating to consider that although making puppet shows for children was the farthest thing from Gerry's mind, when he formed a production company in 1957, it was still undertaken with great professionalism. Filmed in Supermaionation shows that the early shows, filmed at Islet Park in Maidenhead, were made on a wing and a prayer. Yet it was the team spirit and camaraderie that kept the business on track. By the time that Lew Grade became involved with the financing and the team had moved to Ipswich Road studios on the Slough Trading Estate, the entire production process had become a finely tuned machine. Yet the success and popularity of shows such as Fireball XL5 and Stingray did not seem to register with many of the cast and crew. It was still just an enjoyable, paying gig to them.
It is this quality that makes Filmed in Supermarionation so absorbing. There's a wealth of personal stories told from the voice artists perspective, such as Nicholas Parsons (Tex Tucker in Four Feather Falls), Shane Rimmer (Scott Tracy), Elizabeth Morgan (Destiny Angels) Matt Zimmerman (Alan Tracy) and even Robert Easton(Phones). The effects, art and directing departments are also well represented by Brian Johnson, Alan Pattillo, Desmond Saunders ( a total character), Alan Perry and Mike Trim. They also share some of their behind the scenes secrets and recreate some of the effects work for the viewers edification. The documentary also acknowledges the importance of Sylvia Andersons contributions to the studio output and pivotal role she played. It acknowledges the impact that breakdown of the Anderson's marriage had upon the business but it does not take sides or dish any dirt.
Sometimes films of this nature can be a little myopic when it comes to exploring some of the negative aspects of the matter in hand. This is not the case with Filmed in Supermaionation which tackles why the two Thunderbirds feature films failed at the box office. In fact some of the conjecture is very interesting and the simple fact that movie spinoffs were simply not "a thing" back then sounds very plausible in its simplicity. The fact that the final Supermarionation show, The Secret Service may have fallen victim to changing tastes and a studio over reaching itself is also honestly addressed. The closing anecdotes about Gerry Anderson taking up a suite of offices at Pinewood and the Slough studios being cleared and all contents destroyed is very poignant.
To effectively and efficiently tell a tale such as this, a film maker has to be realistic about what is and isn't covered. The two hour running time does not out stay it's welcome but director Stephen La Rivière has stated that about forty minutes of additional material had to excised from the documentary to accommodate a practical running time. The invaluable contribution that both Barry Gray and Derek Meddings made to the world of Supermarionation is unequivocally referenced. It's a shame that more time was not devoted to them but you just “can't get a quart in a pint pot”. As the documentary is exclusively about Gerry Anderson's Supermarionation shows, UFO, Space:1999, Terrahawks and Space Precinct are not referenced. The documentary focuses, quite rightly, on Thunderbirds which remains the jewel in the Anderson's crown.
Filmed in Supermarionation is subtle blend of a fan’s love for the object of their affection, as well as being a thorough critique of one of the UK's greatest technical innovators and consummate storytellers. Those who worked with the Andersons are still slightly bemused by the sheer impact their work had upon subsequent generations. Yet the documentary succinctly highlights all the reasons why these shows have remained so enduring. Perhaps the most important one is the sheer love that was poured into these productions by all involved. David Graham's closing ode to Parker regarding the impact the character had upon his life was very touching. I think it reflects the way the public continues to feel about Gerry Anderson’s unique and much loved body of work.
Ex Machina (2015)
At the heart of Alex Garland's provocative movie Ex Machina, is the concept of the Turing Test and the notion that giving an emerging AI a gender identity is potentially the only way to pass it. It's a very bold concept but it's bolstered by the fact that nature hinges upon our biological imperatives driven by our respective sex. Set within a claustrophobic environment and laced with a more than a hint of Joseph Conrad's Heart of Darkness, Ex Machina is an intelligent and challenging science fiction movie that taps into several very topical themes.
At the heart of Alex Garland's provocative movie Ex Machina, is the concept of the Turing Test and the notion that giving an emerging AI a gender identity is potentially the only way to pass it. It's a very bold concept but it's bolstered by the fact that nature hinges upon our biological imperatives driven by our respective sex. Set within a claustrophobic environment and laced with a more than a hint of Joseph Conrad's Heart of Darkness, Ex Machina is an intelligent and challenging science fiction movie that taps into several very topical themes.
IT savant Caleb (Domhnall Gleeson) find himself the recipient of a unique opportunity to meet with his elusive employer Nathan (Oscar Isaac) and partake in a secret project. After being flown to a remote luxurious estate, Caleb is tasked with determining if Nathan's latest creation, a robot named Ava (Alicia Vikander) can pass the Turing Test. It's a simple premise that writer and director Alex Garland explores on multiple levels. Has Nathan's isolation honed his unique talents or corrupted them? Does Ava reciprocate Caleb's naive infatuation or is she manipulating him? Is it morally right to deny an AI the freedoms that we enjoy. Is it even possible to constrain any intelligent lifeforms?
Seldom do we see movies these days that are prepared to tackle such subjects in a frank and adult fashion. Performances are universally superb and the subtle effects work by Double Negative enhance the credibility of Ava's character. Oscar Isaac is very much the man of the moment and he excels in this role. He exudes the self-aggrandising and bullish nature that comes with success in big business. Alicia Vikander provides both an emotional and very physical performance with her nuanced use of body language. Domhnall Gleeson show us the vulnerable side of his geeky character without descending into caricature. This is acting at its best and a fine example of why strong writing is essential to narrative cinema.
Alex Garland's directorial debut is both confident and bold, candidly reflecting on the nature of humans and how often great deeds are driven by baser motives. Beautifully packaged within a handsome aesthetic that at times even borders on homage to Kubrick's obsession with visual composition, Ex Machina is a robust and thoughtful piece of film making. It reflects the fundamental nature of science fiction, which is to examine the rather fixed nature of the human condition against the ever-changing world of science, moral and ethical change. As for the theme of emerging AI, it would seem that Garland like many writers believes that whatever the circumstances, life finds a way and does whatever is required to perpetuate itself.
Run All Night (2015)
Run All Night is a neo-noir with an above average cast (Neeson, Ed Harris, Vincent D'Onofrio and even Nick Nolte). The screenplay by Brad Ingelsby (who co-wrote the similarly hyperbolic Out of the Furnace) is based around the perennial theme of family feuds in the New York's gangster community. It's a plot device that’s been the mainstay of many a movie over the years but few of any outstanding quality. However, Run All Night has the benefits of two strong leads and an exceptional visual aesthetic, that elevate it above the mundane. Narrative weakness is countered with strong performances and the inherent charisma of Neeson and Harris.
Run All Night is a neo-noir with an above average cast (Neeson, Ed Harris, Vincent D'Onofrio and even Nick Nolte). The screenplay by Brad Ingelsby (who co-wrote the similarly hyperbolic Out of the Furnace) is based around the perennial theme of family feuds in the New York's gangster community. It's a plot device that’s been the mainstay of many a movie over the years but few of any outstanding quality. However, Run All Night has the benefits of two strong leads and an exceptional visual aesthetic, that elevate it above the mundane. Narrative weakness is countered with strong performances and the inherent charisma of Neeson and Harris.
Neeson once again slips into ageing celtic alpha male routine as Jimmy Conlon, a veteran Brooklyn hitman. Hard drinking and estranged from his family, Jimmy is haunted by the memories of his victims and seeks redemption. Ed Harris plays Shawn Maguire, the local Crime Boss and Jimmy's friend for many years. He too is reflecting upon his choices and trying to go straight. Both men are fathers. Neeson's boy Mike (Joel Kinnaman) hates his dad and wants nothing to do with him or his lifestyle. Maguire's son Danny (Boyd Holbrook) is the opposite and is attracted to the criminal lifestyle and seeks personal advancement among the criminal fraternity. When circumstances lead to Jimmy killing Danny to protect Mike, friendships are set aside, resulting in a life or death chase across the city at night.
Visually, Run All Night is stunning. The director Jaume Collet-Serra has an aptitude for capturing New York at night. Director of photography Martin Ruhe creates an atmosphere of fear and trepidation with his lighting and framing of high-rise buildings, subways, diners and railway tracks. It most certainly revitalises what is a somewhat tired and over used visual convention. The fluid and mobile cinematography greatly adds to the narrative and the sense of tension. Sadly the screenplay is not so consistent. The first two acts of the movie are tonally geared towards a more philosophical drama. The third act changes tack and settles for an action based approach.
When you stop to analyse various character’s behaviour in Run All Night, very little of it makes any sense. However, the story moves at such a fast pace that it's only after viewing the film that it’s deficiencies become apparent. Harris and Neeson save the movie from some of its failing. Both actors are always interesting to watch and Harris is under appreciated by his peers, in my book. Run All Night ultimately plays out like a variation of Road to Perdition, although it lacks the polish and depth of that movie. Overall it is a cut above the increasingly lacklustre Taken franchise and it’s at least nice to see a thriller come action movie, that doesn't back pedal and seek the mass market appeal of a PG-13 rating.
The Woman in Black: Angel of Death (2015)
The Woman in Black: Angel of Death is set forty years after the events of the first movie and despite the outbreak of World War II, malevolent spirit Jennet Humfrye is still haunting Eel Marsh House. The decaying mansion is now home to a group of evacuee children from London and it's not long before staff become aware of a ghostly presence. A mute child named Edward, who is bullied by the other children, seems to be the focal point of Jennet's supernatural interests. One of the teachers, Eve Parkins (Phoebe Fox) is protective towards the boy and subsequently incurs the wrath of the woman in black.
The Woman in Black: Angel of Death is set forty years after the events of the first movie and despite the outbreak of World War II, malevolent spirit Jennet Humfrye is still haunting Eel Marsh House. The decaying mansion is now home to a group of evacuee children from London and it's not long before staff become aware of a ghostly presence. A mute child named Edward, who is bullied by the other children, seems to be the focal point of Jennet's supernatural interests. One of the teachers, Eve Parkins (Phoebe Fox) is protective towards the boy and subsequently incurs the wrath of the woman in black.
The Woman in Black had the advantage of a central star driving the movie forward, but the producers compensate for the absence of Daniel Radcliffe by setting this sequel in a strong period setting. The cast drawn mainly from UK television is robust and appropriate. Phoebe Fox sustains the story as the plucky heroine and Jeremy Irvine is competent as a RAF pilot and romantic interest. The younger actors are equally convincing, enduring some grim shocks as they’re menace by the vengeful spirit. The production captures the era well and maintains a suitably brooding atmosphere.
Cinematographer George Steel creates a sombre and bleak aesthetic, working within a very dark colour scheme. The fog bound woods and tidal beaches are genuinely chilling and provide a ghoulish setting for the story to unfold. The Woman in Black: Angel of Death is not a gory film, instead relying upon a brooding atmosphere of fear and some well contrived jump scares. The absence of a major box office star meant that the distributors did not indulge in any horse trading over the rating this time round. In the UK the movie has subsequently been rated 15 due to its very dark tone and subject matter.
The Woman in Black: Angel of Death is a solid and professionally crafted movie that acquits itself well in the current sub-genre of “jump scare” based horror movies. It is not quite as good as the first movie, mainly because it doesn't do much more than provide viewers with more of the same. However, what it sets out to do, it does well. The change of setting and inventive sound design enhance the proceeding, making it superior to many of its contemporary set rivals. The movies greatest strength is still its bold subject matter. Infanticide is still a theme that many studios shy away from.