The Thirteenth Doctor
Last night Jodie Whittaker made her debut as the thirteenth incarnation of that iconic Time Lord known as The Doctor. And despite eighteen months of negative comments, criticism and bile from those who disliked the idea of a female lead, the first episode, The Woman Who Fell to Earth was watched in the UK by 8 million people. At this point, popular opinion appears to be broadly positive and the franchise has weathered the storm. Naturally, there are some fans who have elected not to continue watching and there are those who intend to remain in the wings spouting disproportionate criticisms because they feel that something has been taken away from them. However, churn is a common facet of all industries and TV entertainment is no different. The BBC may well lose some long-time viewers due to this casting change, but I think it will gain far more new ones. I say this with some confidence because I too have chosen to return to the Doctor Who fold.
Last night Jodie Whittaker made her debut as the thirteenth incarnation of that iconic Time Lord known as The Doctor. And despite eighteen months of negative comments, criticism and bile from those who disliked the idea of a female lead, the first episode, The Woman Who Fell to Earth was watched in the UK by 8 million people. At this point, popular opinion appears to be broadly positive and the franchise has weathered the storm. Naturally, there are some fans who have elected not to continue watching and there are those who intend to remain in the wings spouting disproportionate criticisms because they feel that something has been taken away from them. However, churn is a common facet of all industries and TV entertainment is no different. The BBC may well lose some long-time viewers due to this casting change, but I think it will gain far more new ones. I say this with some confidence because I too have chosen to return to the Doctor Who fold.
I started watching Doctor Who upon its return in 2005 and enjoyed the first couple of seasons. Despite growing up in the glory days of the Pertwee and Baker era, I happily made the transition to the new, modern and contemporary Doctor. However, as time progressed I felt that the show and the wider fan community were becoming a little too inward gazing. Furthermore, under Steven Moffat’s auspices, the show started to become excessively narratively convoluted, self-referential and frankly a little too smug for its own good. In many ways it came across as a massive fans service first and frequently felt like a big “in-joke” shared among fans but to the exclusion of the wider public. For many Doctor Who ceased to be a show that you could easily return to. Something that was reflected in the viewing figures, which more or less halved from the initial halcyon days of Russell T Davies’ creative tenure.
I suspect that the arrival of new show runner Chris Chibnall will address these issues. I am certainly not going to theorise in-depth about the long-term direction that the franchise will now take, purely on the strength of one episode. However, I think it gives viewers an indication of Mr. Chibnall’s approach. It was stripped back, immediate and very accessible. Yes, there was the signature techno-babble but it was an embellishment, rather than pivotal plot device that required viewers to take notes. The new companions were plausible, coming from a diverse city such as Sheffield. Although I do not doubt that the new season will honour many of the classic tropes and facets of established lore, I like the way that this fresh start has not thrown up any obvious barriers to entry. This is something that Star Trek: Discovery has managed to achieve. Perhaps it is this choice to shun exclusivity that has upset some fans. Regardless of the anger that is still raging in some quarters, I am happy to watch this new season of Doctor Who as it has seen fit to offer the wider public an olive branch. I suspect that if handled well, the new Doctor will settle in to the existing cannon just fine.
Strictly Come Dancing 2018: Part 1
With each successive season of Strictly Come Dancing there appears to be more and more celebrity participants who seem to be “good”, right from the get-go. For many years now there have been ongoing debates about whether those from certain backgrounds, IE music, acting and possibly even sport, have an advantage over the usual chefs, astrologers and ageing minor celebrities. Although I can see the initial sense of such arguments, I don’t think they hold up to close scrutiny. Having performed a few arbitrary dance moves whilst touring or having done a stilted routine for a TV drama or play is not the same as the rigour and scrutiny that comes with Strictly Come Dancing. However, setting aside this perennial question, despite only being three weeks into series sixteen, we saw some extremely strong movie themed performances last night and the potential emergence of several dark horses. Subsequently tonight’s results were interesting.
With each successive season of Strictly Come Dancing there appears to be more and more celebrity participants who seem to be “good”, right from the get-go. For many years now there have been ongoing debates about whether those from certain backgrounds, IE music, acting and possibly even sport, have an advantage over the usual chefs, astrologers and ageing minor celebrities. Although I can see the initial sense of such arguments, I don’t think they hold up to close scrutiny. Having performed a few arbitrary dance moves whilst touring or having done a stilted routine for a TV drama or play is not the same as the rigour and scrutiny that comes with Strictly Come Dancing. However, setting aside this perennial question, despite only being three weeks into series sixteen, we saw some extremely strong movie themed performances last night and the potential emergence of several dark horses. Subsequently tonight’s results were interesting.
As many expected, the top of the leaderboard was occupied by Faye and Giovanni, along with Ashley and Pasha. Both couples delivered, innovative, polished and spirited performances with their respective Quick Step and Salsa. However, Vick Hope struggled with aspects of her Salsa and similarly Joe Sugg did not deliver a strong American smooth. Although commendable performances, the technical deficiencies were reflected in their scores, which was surprising considering both have been already identified as potential finalists. Conversely, several other couples who as of last week appeared to still be in the early stages of their Strictly Come Dancing journey, came out fighting with robust performances. Graeme and Oti’s Spider-man themed Charleston was both entertaining and delivered with style. Stacey and Kevin’s jive was also a major crowd pleaser. And just as pundits and online commentators were beginning to write off comedian Seann Walsh, he came back with an intense Paso Doble, cunningly choreographed by Katya Jones.
The net result of this was that a lot of couples that the public expected to do well were pushed further down the leaderboard and found themselves in danger of getting their marching orders. I was surprised to see both Lauren and Dr. Ranj so near the bottom. And as ever with Strictly Come Dancing, there is the public vote to consider which varies from being at times utterly predictable and at others a real wild card. Hence, I was not expecting to find Charles Venn in the dance off this evening. Despite his penchant to referring to himself in the third person I think he so far shown potential as a dancer and certainly has the performance as well as charisma parts covered. As for Lee Ryan, he’s had two problematic dances in a row. Yes, there has certainly been some technical issues, but he cannot be accused of not trying. But again, it comes down to the whether or not he has a fan base or not and it would appear that he has not. I am not aware of any major transgression he may have made in his personal life that may have upset the public but then again, I’m not of an age or mindset to be interested in the murky world of tabloid celebrity tittle-tattle.
So, as Mr Ryan leaves the show, I’m left thinking that we may have further upsets in the weeks to come. I suspect that Katie Piper may out stay her welcome by being championed by the public as this year’s underdog. She’s a lovely lady but I think her lack of confidence is here to stay. I also think Dr Ranj may also plateau quite quickly. Enthusiasm can only carry you so far if the ability doesn’t improve. Then there is the issue of specific professional dancers who sometimes make poor choices when it comes to creating routines. Too much content, trying too hard, and breaking rules with regards to lifts are common pitfalls. Such mistakes always antagonise me as they are not the celebrity partners fault, but they suffer. I suspect that AJ Pritchard will once again go down this road, instead of letting his partner find her confidence. But all of these aspects and considerations are part of the excitement and joy of the annual Strictly Come Dancing journey. Although the show has a formula, it’s nice to have these unpredictable elements from time to time. Roll on next Saturday.
Star Trek Online: Red Alert Controversy
Developer’s Cryptic announced this week that the various Red Alerts that are currently available continuously in Star Trek Online would hence forward, only be available to players on the weekend. Their official explanations was as follows. Starting this weekend, Red Alerts are moving from being always available to being special weekend events, with improved rewards! When these Red Alerts are live, you’ll be able to earn 35 Marks of your choice every time you play, with no cooldowns to prevent you from getting back into the action. These Task Force Operations will return to the galaxy regularly, as the groups of invaders do their best to take control of the four quadrants of the galaxy. As with any change of this nature, it has not been met with open arms by the STO reddit community and the official forums.
Developer’s Cryptic announced this week that the various Red Alerts that are currently available continuously in Star Trek Online would hence forward, only be available to players on the weekend. Their official explanations was as follows. Starting this weekend, Red Alerts are moving from being always available to being special weekend events, with improved rewards! When these Red Alerts are live, you’ll be able to earn 35 Marks of your choice every time you play, with no cooldowns to prevent you from getting back into the action. These Task Force Operations will return to the galaxy regularly, as the groups of invaders do their best to take control of the four quadrants of the galaxy. As with any change of this nature, it has not been met with open arms by the STO reddit community and the official forums.
Red Alerts are spaced based, five player PVE events that can be joined either through the in-game queue listing facility or via an onscreen “distress call” while travelling is certain areas of sector space. They have a simple set of objectives, culminating in a capital ship fight, that have to be achieved in a ten-minute period. There are several varieties of Red Alert, themed around the Borg, Elachi, Tholians and the Tzenkethi. Once completed the player received 480 Dilithium ore and a reputation mark package that allows them to choose from a selection of factions. Red Alerts up until this change have been on a 30 minutes cooldown. However, many players consider them a quick and convenient facet of the game. If you are pushed for time they provide a quick fix of gameplay, they are also convenient for testing a gear build, and naturally they are a very useful means of earning marks for full reputation and rep related gear projects.
It has been noted by the STO community that this change to Red Alerts has come shortly after a recent announcement via the Priority One podcast, that PVE queues per se are having a random Task Force Operation added to them. One of the biggest problems with these group PVE activities available in STO is that some, unlike the Red Alerts, only offer a specific kind of reputation mark as a reward. There is a very strong game meta in STO with regard to builds, leading to certain reputation gear being more popular than others. Hence some group PVE events available in the queue manager are continuously busy and finding a five-man team is not a problem. Conversely, for the others the opposite is true. You can join a PVE queue for Battle for Procyon V, which only offers Fleet and Temporal marks as a reward and wait all evening for another 4 players to join. Because of this Cryptic feel that introducing an optional random Task Force Operation that offers enhanced rewards and quicker cooldowns will help resolve the problem.
Unfortunately, there are cogent arguments to be made that such a facility will have quite the opposite effect. Those players with more time available may well be happy to endure the caprices of random queues. After all, reputation marks of all types are useful. However, those who have less time at their disposal, seeking specific rep marks will find themselves even less likely to find a group in a timely fashion. Plus, there is the issue of the reduction of choice. Although the proposed random queues are optional let us not forget the removal of the convenient Red Alerts. And players are also concerned about the commercial ramifications that could come with this change. The reputation mechanic in STO is getting an additional sixth tier added to it in the months ahead. Naturally this will require further rep marks to achieve. Yet it is being added at a time when the opportunity for earning such marks is being altered; or as some players see it, restricted. Will the in-game store be offering purchasable rep marks in the foreseeable future?
As ever with F2P games, there is scope for game content and systems to be subordinate to revenue generation, rather than putting quality and player experience first. I can see how developers Cryptic do not want to introduce the expanded rep system only to see veteran players complete it too quickly due to stockpiled assets. However, I as a player do not want to find my progress in the game go from an equitable pace to a tedious grind. The potential of a cash store workaround also concerns me. It remains to be seen whether this debacle will encourage Cryptic to change their current course of action. The game is still in a very good place overall at the moment with both console and PC versions doing well. The tie-in with Star Trek: Discovery is certainly a marketing boon, so it would be a shame to see the game commit an act of self-harm. As ever with the MMO genre, it’s a question of wait and see, although I think a response from Cryptic and some clarity would go a long way.
LOTRO: An Unnecessary Increase in Level Cap?
I’ve logged into the Bullroarer test server and looked around several of the preview builds of Update 23 for LOTRO recently. So far what I’ve seen has broadly met with my approval. It’s pretty much more of the same, with the main selling point being the story and a new area of Middle-earth to explore. However, there’s one aspect of the soon to be released Update 23: Where Dragons Dwell that does strike me as a little odd. The level cap is being increased from 115 to 120. Last summer’s Mordor expansion raised the cap by ten to 115, so this new increase does feel a little too soon to me. However, if you look at the LOTRO Wiki, it would appear that increases tend to occur regularly every eighteen months to two years, so it can be argued that this pending change isn’t anything unusual. Yet, it somehow feels “off” to me, which I shall now endeavour to explain.
I’ve logged into the Bullroarer test server and looked around several of the preview builds of Update 23 for LOTRO recently. So far what I’ve seen has broadly met with my approval. It’s pretty much more of the same, with the main selling point being the story and a new area of Middle-earth to explore. However, there’s one aspect of the soon to be released Update 23: Where Dragons Dwell that does strike me as a little odd. The level cap is being increased from 115 to 120. Last summer’s Mordor expansion raised the cap by ten to 115, so this new increase does feel a little too soon to me. However, if you look at the LOTRO Wiki, it would appear that increases tend to occur regularly every eighteen months to two years, so it can be argued that this pending change isn’t anything unusual. Yet, it somehow feels “off” to me, which I shall now endeavour to explain.
The Mordor expansion presented players with a major statistical and gear adjustment. More so than at other points in the game. The in-game quest rewards gave players a helping hand but to secure a full set of equipment to successfully traverse the rigours of the zone, you needed to repeat content, run instances and raids. Lootboxes and keys also initially dropped in-game and provided a supplement to the above. Then of course there was the LOTRO store that could provide keys instantly for a price. However, in the past year there has been various tinkering by the developers and keys drops are now less common place. To date there are still a lot of players working through the expansion as well as Dale-lands, attempting to earn enough barter rewards to acquire the right gear set. The coming level cap increase will effectively bring that process to a halt and negate any ongoing hard work by introducing a new rep faction and barter reward system.
Is a new gear grind really required so soon after the last expansion? It’s a debatable point. For every high-end achiever who wants the “best of the best”, there are two laid back players who are running a new alt through Ered Luin once again, just for the fun of it. LOTRO has a very diverse player base. Which is why I think that this decision to raise the level cap is somewhat of divisive. I have felt in recent years that the gear progression system has become a little too endgame focused. Although I appreciate that raid gear should not be given out on a whim and should be gated behind high end content, I often feel that intermediate players spend too much time levelling in under specified armour and jewellery. Once a player has finished a zone such as Mordor or similar, they may well find themselves adequately equipped for their level, but if they don’t run endgame content regularly, they don’t see any major benefit from it.
I have vivid memories of running group content back in the Moria expansion days, trying to earn First Age Lore-master Staff. I finally obtained one about ten days prior to the Siege of Mirkwood expansion that immediately made it obsolete. I find it similarly saddening that by the time I perfect my level 115 build it will be negated by the availability of new 120 items. For me if SSG could make a mid-tier of gear available that could be used for those players between casual and hardcore, that would be a good compromise. They’ve done this before. The floral barter system in Ithilien which came with Update 19: March of the King provided a satisfactory alternative to gear gained from endgame content. May be something similar will be made available in future level 120 content. In the meantime, I remain sceptical of the pending level cap raise. I do not like being under powered in MMOs and like to be able to earn items that improve my stats while I’m still levelling.
Unfriended: Dark Web (2018)
I wondered recently whether Unfriended (2014) would kick start an entire subgenre comparable to the “found footage” format. It would appear that it has, and these movies shot on phones, computers and other digital devices have subsequently been labelled “screenlife” films. It’s worth noting that Unfriended: Dark Web is produced by Russian filmmaker Timur Bekmambetov who has already produced two other movies (Profile and Searching) using this technique. So, it won’t be surprising to see further forays into this style of film making. It is cheap, quick to make with a lot of box office potential. So, it’s hardly surprising to see Jason Blum (of Get Out and The Purge fame) attached to the credits as well. As for Unfriended: Dark Web it’s suitably nasty, voyeuristic, fare that is competently made. At this point the novelty of the “screenlife” films has yet run out, but it is still a physically challenging format to endure (as I found with its predecessor).
I wondered recently whether Unfriended (2014) would kick start an entire subgenre comparable to the “found footage” format. It would appear that it has, and these movies shot on phones, computers and other digital devices have subsequently been labelled “screenlife” films. It’s worth noting that Unfriended: Dark Web is produced by Russian filmmaker Timur Bekmambetov who has already produced two other movies (Profile and Searching) using this technique. So, it won’t be surprising to see further forays into this style of film making. It is cheap, quick to make with a lot of box office potential. So, it’s hardly surprising to see Jason Blum (of Get Out and The Purge fame) attached to the credits as well. As for Unfriended: Dark Web it’s suitably nasty, voyeuristic, fare that is competently made. At this point the novelty of the “screenlife” films has yet run out, but it is still a physically challenging format to endure (as I found with its predecessor).
Technically talented slacker with a heart of gold Matias (Colin Woodall) “acquires” a new MacBook and sets about installing all his own files and personalising it. He’s working on a speech to text and signing app for his deaf girlfriend, Amaya (Stephanie Nogueras). She is not overly impressed because its primary purpose is to make it easy for her to understand him and not the other way around. As it’s “game night” he joins a group Skype call with his friends, tech wiz Damon, conspiracy theorist AJ, DJ Lexx, and couple Serena and Nari. After numerous reboots and a series of DMs intended for the previous owner, Matias starts digging around the root directory of his new laptop. This leads to a hidden folder filled torture and snuff videos. Matias soon realises that he and his friends are being watched online, by the computer’s original owner. They wants it back because it’s the only way to access a secure account with a substantial cryptocurrency deposit in it.
Writer director Stephen Susco certainly makes the most out of the “screenlife” format using every glitch, software buffering and packet loss to his advantage. Like the previous movie, the medium used to convey the story adds to the tension and growing suspense. However, once again to enjoy the movie to the fullest I had to watch on my 24-inch computer monitor, rather than on my lounge TV. Unfriended: Dark Web is convincingly acted by the young cast, in so far as the performances do feel like they’re captured from real life, which that’s not an easy thing to achieve. Again, the characters are flawed and therefore do come across as credible. The hubris and tempestuous emotions of youth are reflected well in the serviceable screenplay. The group of friends are overly confident in their collective tech abilities and is never crosses their mind that they’re being “played” until it’s too late.
The evil mastermind behind all these shenanigans is called Charon, which is the name of the ferryman in Greek mythology who took the dead over the river Styx to Hades. The movie then runs with this metaphor as the cast are bumped off in innovative ways. The main difference this time round is that there is a clear human agency behind all the mayhem, rather than the supernatural theme of the first movie. Although Unfriended: Dark Web is far from a milestone in the horror genre, it does have a point to make about voyeurism and the screen-dominated lives and social media leisure habits of the younger generation. Horror like any other cinematic genre has its elitists and snobs and I think that this movie got a tough time from those who see themselves “gatekeepers” or who are simply a few generations removed from such online culture. It’s not without flaws, but its not a complete dogs dinner and if approached with the right mindset it can be rewarding.
Diary of a Podcaster Part 15
I’ve been pondering a new podcast project for a while, since Contains Moderate Peril ended a year ago. As I’ve discussed in previous posts, I want to create a movie-based show and have been considering of late exactly what sort of format to adopt. I don’t go to the cinema often enough these days to produce a contemporary review orientated podcast, plus I don’t find a lot of mainstream releases to be sufficiently engaging. Despite looking and pursuing discrete enquiries, I haven’t been able to find a co-host who is sufficiently knowledgeable, motivated or available to do a regular show producing the audio equivalent of long form criticism of films and the movie industry. So, it’s been a bit of a chore to try and work out which niche to explore. However, I have now a clear idea of what I want to do.
I’ve been pondering a new podcast project for a while, since Contains Moderate Peril ended a year ago. As I’ve discussed in previous posts, I want to create a movie-based show and have been considering of late exactly what sort of format to adopt. I don’t go to the cinema often enough these days to produce a contemporary review orientated podcast, plus I don’t find a lot of mainstream releases to be sufficiently engaging. Despite looking and pursuing discrete enquiries, I haven’t been able to find a co-host who is sufficiently knowledgeable, motivated or available to do a regular show producing the audio equivalent of long form criticism of films and the movie industry. So, it’s been a bit of a chore to try and work out which niche to explore. However, I have now a clear idea of what I want to do.
Although I like podcasts that analyse in great depth a specific subject matter (such as The Evolution of Horror), they are very labour intensive to produce to a high standard. I’m looking to create a monthly show that is easy to arrange, record and edit. Round table discussions with one host and two to three guests tend to fit this format well. So, I’ve taken a leaf from fellow blogger Murfs book. He is currently working his way through a series of classic movies and then writing his thoughts on them. To me that seems like a perfect format for a show. Have the guests watch in advance a movie of note, then have a group discussion about their respective thoughts and impressions. I will be the host and endeavour to ask pertinent questions as well as provide my own insights where appropriate. Such a podcast just requires a few scheduled recording sessions, which can be done well in advance of the planned publishing of each episode. This is not a time sensitive production.
The internet certainly doesn’t have a shortage of lists and “top ten’s” of movies that can serve as a point of debate. The project certainly doesn’t require any new hardware. There are some other minor technical issues that will need “tweaking” to get the show active on iTunes but it’s nothing too difficult. The name of the show is currently undecided, but I don’t see that as being major issue. The biggest hurdle is to line up some willing guests and then schedule some recording sessions. However, I’m not looking at releasing the first episode until January 2019, so I have plenty of time to address all these matters. In the case of everything coming together quicker than I have anticipated, then there may be a show available prior to Christmas. Overall, I’m cautiously optimistic about the sustainability of this project and am excited by the prospect of a return to podcasting.
The Expendables Extended Director's Cut (2010)
If you are expecting more violence, explosions and sundry mayhem in the extended director's cut of The Expendables, then you'll find none. What you will discover is an additional ten minutes of character development and back story, which greatly improves the overall film. The theatrical cut was certainly not lacking in the action department but was a bit thin on narrative and back story. This extended version of the movie with over two hundred changes to the original cut, bolsters the dramatic elements of the plot. We get to know more about the team and as a result care a little more for them. You can find a comprehensive comparison over at moviecensorship.com of both versions of the movie.
If you are expecting more violence, explosions and sundry mayhem in the extended director's cut of The Expendables, then you'll find none. What you will discover is an additional ten minutes of character development and back story, which greatly improves the overall film. The theatrical cut was certainly not lacking in the action department but was a bit thin on narrative and back story. This extended version of the movie with over two hundred changes to the original cut, bolsters the dramatic elements of the plot. We get to know more about the team and as a result care a little more for them. You can find a comprehensive comparison over at moviecensorship.com of both versions of the movie.
A further improvement that has been made in the extended director's cut is that several of the action scenes have been re-edited. Not for any censorship reasons but mainly to improve the flow of the content. The water-boarding sequence now seems more relevant and clinical, rather than just brutal. The infamous knife twisting in the throat scene which was dropped from the UK theatrical print has been shortened in the extended cut. The hand amputation and decapitation that proceeded it, have had a few frames added and the entire sequence now seems to be structured better, allowing the viewer to follow what is happening on screen a lot more easily. I am not a fan of the modern style of lightning editing and felt that some sequences where quite jarring when I first saw The Expendables in the cinema. These revisions and others have addressed this issue. The style is still very fast but what is depicted can be visually assimilated a lot more easily.
Although there is much to enjoy about this film, one of its biggest shortcomings is its reliance on CGI FX over traditional physical effects. A lot of the bullet hits, knife wounds and blood splatter have been added in post-production. I'm sure time constraints and budgetary restrictions where deciding factors as to why the production chose this approach, but the reality is that these FX sequences often don't work. Take for the example the scene where the Somalia pirate gets blown in half by Dolph Lundgren. The sequence does not look at all credible and all the surrounding extras are conspicuously free from blood splatter. A simple physical effect using a prosthetic body would have been infinitely superior. Eric Roberts demise is similarly poorly realised, which is a shame because it diminishes the impact of the scene.
I don't expect to be schooled in military geo-politics by a movie such as The Expendables. Nor do I expect it to afford me any insight into the human condition, the horrors of war or the nature of the soul (although the scene where Mickey Rourke talks about how he failed to stop a suicide attempt was extremely well acted and somewhat out of place). What I do expect is hard edged action, quirky characters, witty banter and genuine love of the genre in question. The Expendables achieves all of these and does so with aplomb. Too often, equivalent movies fail to do this because they’re fundamentally dishonest. The soulless manner in which they’re contrived to retrofit a money-making formula shows nothing but contempt for their target audience. Whatever your view on the merits of The Expendables its heart is clearly in the right place, which is a rare quality these days.
A Creature of Habit
I woke up on Saturday morning only to discover that my watch had stopped. I still wore it throughout the day as I don’t feel properly dressed without a wristwatch. As I was out for the day I wasn’t able to immediately resolve the issue. Today I decided rather than replace the battery, why not just buy a new watch. So, I went to my local branch of Argos and bought exactly the same make and model of watch. When I used to work in “the city” I wore a quality Rotary analogue watch that my wife had bought me as a gift. However, due to my work it kept getting scratched and damaged, so I swapped to something cheap and functional. This change has now become a habit and the fancy watch only gets worn on high days and holidays. Hence, I bought yet another a bog standard analogue black Casio watch today. It costs £7.99 which is about the same price I’d be charged for the battery to be replaced in the old one.
I woke up on Saturday morning only to discover that my watch had stopped. I still wore it throughout the day as I don’t feel properly dressed without a wristwatch. As I was out for the day I wasn’t able to immediately resolve the issue. Today I decided rather than replace the battery, why not just buy a new watch. So, I went to my local branch of Argos and bought exactly the same make and model of watch. When I used to work in “the city” I wore a quality Rotary analogue watch that my wife had bought me as a gift. However, due to my work it kept getting scratched and damaged, so I swapped to something cheap and functional. This change has now become a habit and the fancy watch only gets worn on high days and holidays. Hence, I bought yet another a bog standard analogue black Casio watch today. It costs £7.99 which is about the same price I’d be charged for the battery to be replaced in the old one.
We all have foibles and habits that we adhere to and naturally I have my fair share. Now that I’ve retired and no longer have to deal with clients, I don’t worry too much about sartorial issues. I dress functionally and again tend follow a “like for like” replacement policy when it comes to clothing. I’m not as bad as Seth Brundle (Jeff Goldblum) in The Fly and have a wardrobe full of the same outfits but I do tend to stick with the same brands and styles. For example, once a year I buy two pair of a particular type of Reebok Hiking Shoes. One black and one white. I then wear them in rotation when I’m not required to wear formal shoes and just run them into the ground. They are practical, functional and sufficiently presentable, so why burden myself with the dilemma of choosing another brand and product line?
There are other telltale signs that show that I’m a creature of habit. For example, as a household we recently decided to try a different supermarket. Broadly the change has proven successful as we find that we’re reduced our monthly grocery spend without compromising on quality. Cleaning products do not command brand loyalty. Bleach is bleach. However, there are certain items that I will not swap brand. Baked Beans is one such item. Tea and coffee are others. I guess everybody has some personal lines in the sand that they will not cross. I am always interested in a bargain but not at the expense of my enjoyment. Cheap biscuits are indeed cheap, but they are seldom pleasant, which is their fundamental purpose.
I’m also a great one for plans and I seldom do anything significant on a whim. If I arrange to meet someone at a restaurant or venue that I’m not familiar with, I always check transport arrangement in advance and use Google Maps and Street View to familiarise myself with the area. Again, when I worked in central London, a friend of mine found it fascinating that I had an exit strategy if there ever was a major incident. If the important transport hubs were shut down, I had a route planned in which I could effectively walk home. Funny how some folk saw this as an odd thing, where to me it seems like common sense. I like the peace of mind that planning in advance provides. I also hate it when someone else included in any social arrangement makes an ill-conceived change that has a knock-on effect on everyone else.
Now although I may be a creature of habit, I am not a slave to routines. In certain aspects of my life I am very happy to be adventurous. I will happily try any type of international cuisine, with my only real stipulation about food being that it has to be dead when it’s served up in front of me. I guess a lot of my personality foibles stem from my upbringing and the world view I’ve adopted over the years. My Father has an academic background and favours logical, reasoned based thinking. One of the greatest lessons he’s taught me is the importance of focusing and marshalling your thoughts, especially before speaking. Hence, I have a methodology that I bring to bear on most aspects of my life. It may make me a creature of habit, but it also makes me a content one.
Peppa Pig World
Having twin granddaughters who are three years old makes our family prime candidates for Peppa Pig World. So, we decided to go this year, rather than leave it to next summer, only to find that the twin’s tastes have changed. Today was a beautiful autumnal day with plenty of sunshine, making it ideal for adventures in a theme park. Peppa Pig World is actually just part of Paultons Park, which has a broad variety of rides and entertainment. However, the girls age restricts them from a lot of these, so we remained at Peppa Pig World which proved sufficient to keep children and adults busy. We ended up spending seven hours, perusing the park and went on most rides. Despite the lateness of the season, Peppa Pig World was still well attended and there was a large crowd throughout the day. However, the theme park is very well organised and run so there were no major problems.
Having twin granddaughters who are three years old makes our family prime candidates for Peppa Pig World. So, we decided to go this year, rather than leave it to next summer, only to find that the twin’s tastes have changed. Today was a beautiful autumnal day with plenty of sunshine, making it ideal for adventures in a theme park. Peppa Pig World is actually just part of Paultons Park, which has a broad variety of rides and entertainment. However, the girls age restricts them from a lot of these, so we remained at Peppa Pig World which proved sufficient to keep children and adults busy. We ended up spending seven hours, perusing the park and went on most rides. Despite the lateness of the season, Peppa Pig World was still well attended and there was a large crowd throughout the day. However, the theme park is very well organised and run so there were no major problems.
Like most outdoor events, if you arrive early then you get the best parking. We secured places near to the entrance. Parking is martialled by stewards who are polite and helpful. We had pre-booked our tickets and received a substantial discount. There were four adults in our party which cost £110 and the children being under 1 metre, got in free. Regular tickets bought at the gate cost £34.25 each. On arrival the granddaughters were given green wristbands that designated which rides were suitable, through a colour code system. It was then a short five-minute walk through parts of Paultons Park before we got to Peppa Pig World which is a separate enclave. The moment you cross over the threshold, you’re acutely aware of various jingles, incidental music and of course the theme tune from Peppa Pig. Most children seem unconcerned by this pervasiveness. Adults may require opiates.
Some rides are more popular than others, so my advice to any family planning on visiting is to determine which ones are most important and go there first. For the first couple of hours of the day the average queue time is about 10 to 15 minutes but eventually this goes up to about 30 minutes by sheer weight of numbers. The rides are all fairly straight forward, sedate and very child friendly. They are mainly permutations of riding around in a themed vehicle or conveyance, through a semi interactive environment. The water-based rides such as Grandpa Pig’s Boat Trip and Grampy Rabbit’s Sailing Club are especially enjoyable, offering a more dynamic mode of transport. Peppa Pig’s Balloon Ride is also quite exciting, offering great views of the park and immediate area. Personally, I thought the most complex and involving ride was the Windy Castle. It lasted the longest, mainly to accommodate getting passengers on and off their respective “clouds.
As well as rides there are other attractions. There is a “meet and greet” with Peppa and George along with an accompanying stage show. As you can imagine, this is very popular, so if you arrive late, you’ll find yourself at the back of a large crowd, struggling to see. There are numerous photo opportunity such as Peppa Pig’s House and various animatronic displays. There also a soft play area that is very well provided for. As part of the wider attractions of Paultons Park, there is a penguin enclosure, which is directly adjacent to Peppa Pig World. The is a talk at feeding time, twice daily that is most informative. Like any theme park, there are numerous gift shops, eateries and kiosks, all designed to separate adults from their hard-earned cash. Sadly, the prices here are somewhat high and so feeding your family may prove expensive. We also noticed that the regular exits were closed, and we had to vacate the park via the gift shop, which was a little pervasive.
Overall, Peppa Pig World is a good day out for those with appropriately aged children. As we stayed from 10:00 AM to 5:00 PM, I felt is was value for money. We certainly didn’t run out of things to do and the queue times were not too excessive. The staff were very friendly, helpful and above all, good at their jobs. The logistical facilities, such toilets, information and “lost children” collection centres where all top notch and it would seem that the park can deal with any issues quickly. Unless you live relatively locally, I would advise potential guests to come down a day early and stay in one of the numerous hotels in the area. Hampshire has a good tourist industry and there’s accommodation available to suit all budgets. Certainly, our granddaughter had a great day out, but as I mentioned earlier, many theme parks are governed by a specific age window. I suspect that our visit was exactly at the “right time” and Disneyland Paris will more than likely be the next destination.
Where's That Fire? (1940)
Until a copy was found by the BBC television in 1975, this was considered a lost film. Where's That Fire? is an often over looked comedy. Will Hay plays Captain Viking of the Bishop Wallop fire station in his usual seedy incompetent fashion. He and his trusty assistants Albert (Graham Moffatt) and Harbottle (Moore Marriott) run an antiquated Victorian fire tender but seldom put out any fires. After the Town Hall burns down they find that their jobs are on the line. Viking tries to solve their problems by inventing a new fire-retardant foam as well as renting the tender to a film production company, who may not be quite what they seem. It all ends in mayhem, with an attempted robbery of the Crown Jewels at The Tower of London.
Until a copy was found by the BBC television in 1975, this was considered a lost film. Where's That Fire? is an often over looked comedy. Will Hay plays Captain Viking of the Bishop Wallop fire station in his usual seedy incompetent fashion. He and his trusty assistants Albert (Graham Moffatt) and Harbottle (Moore Marriott) run an antiquated Victorian fire tender but seldom put out any fires. After the Town Hall burns down they find that their jobs are on the line. Viking tries to solve their problems by inventing a new fire-retardant foam as well as renting the tender to a film production company, who may not be quite what they seem. It all ends in mayhem, with an attempted robbery of the Crown Jewels at The Tower of London.
More ambitiously staged than most of the team's efforts, Where's That Fire? has several brilliantly orchestrated slapstick sequences. One has our trio trying to install their new firemen's pole, causing a traffic jam in the street, wrecking a china shop, bothering a man confined to bed with gout and finally demolishing his roof. Charles Hawtrey has an amusing cameo as a schoolboy “swot” who provides geometrical and linguistic advice. There is also an elaborate physical FX sequence when a local garage gets set ablaze. Harbottle mistakenly connects the fire hoses to the fuel pump instead of the water mains, with hilarious incendiary results.
Ultimately, the film succeeds because of the timeless characters that have been created. Some of the jokes may have dated somewhat, but the interaction between the three leads is still credible today. Hay's blustering inanity, Marriott's rambling Octogenarian and Moffatt's wide boy are all still accessible archetypes. The dialogue between them is loaded with that unique sense of British irony and sarcasm. Two visitors disbelieve that Hay is the Captain of the fire station. "Tell them what I am" he says to Graham Moffatt. "What? Out loud" he replies. Where's That Fire? is a wonderful piece of cinema, from a quieter, gentler time. Recommended to those seeking nostalgia and to those who may wish to familiarise themselves with the work of Will Hay.
Sherlock Holmes: A Game of Shadows (2011)
Sherlock Holmes: A Game of Shadows, is very much a film of two halves. The initial hour is filled with gunfights, explosions, and bullet time fist fights. Sherlock Holmes (Robert Downey, Jr.) and Dr. Watson (Jude Law) unravel the sinister plans of Professor Moriarty (Jared Harris) and proceed to deal with it in the idiom of Frank Martin, as director Guy Ritchie's pulls every visual trick he knows out of the bag. The pace is fast yet a fairly strong script and superb chemistry between central characters, makes this a cut above the usual PG-13 rated action fodder served to the masses at present. It is beneficial that the bulk of the original cast and crew returned for this sequel as it maintains a strong sense of continuity with it predecessor.
Sherlock Holmes: A Game of Shadows, is very much a film of two halves. The initial hour is filled with gunfights, explosions, and bullet time fist fights. Sherlock Holmes (Robert Downey, Jr.) and Dr. Watson (Jude Law) unravel the sinister plans of Professor Moriarty (Jared Harris) and proceed to deal with it in the idiom of Frank Martin, as director Guy Ritchie's pulls every visual trick he knows out of the bag. The pace is fast yet a fairly strong script and superb chemistry between central characters, makes this a cut above the usual PG-13 rated action fodder served to the masses at present. It is beneficial that the bulk of the original cast and crew returned for this sequel as it maintains a strong sense of continuity with it predecessor.
Inspector Lastrade (Eddie Marsan) is sidelined in this story and Holmes's love, Irene Adler (Rachel McAdams) is dispensed with quite early in the proceedings, leaving us with much more interaction between Holmes and Watson. A dynamic that is skewed by Watson's marriage, leading to an unconventional love triangle. Sadly, there are a few weaknesses in the finished film. Gypsy leader Madam Simza Heron (Noomi Rapace) has a great introduction then is left somewhat under developed. Also, the disgraced Colonel and crack shot, Sebastian Moran is similarly vague. He also drops out of the film towards the end, providing a suitable antagonist for a third instalment.
But these issues notwithstanding, the second half, quickly shifts from action to the traditional game of intellectual cat and mouse between our hero and his arch nemesis. It is during these verbal confrontations that the more traditional elements of Sir Arthur Conan Doyle's work come through. The final battle via a game of chess on a balcony overlooking the Reichenbach falls, is ingenious and enthralling. Guy Ritchie's has certainly found the right mix between old school cerebral sleuthing and contemporary action styles. He also understands that the linchpin of these films is the relationship between leads and he handles this dynamic skilfully. Hans Zimmer's soundtrack once gain embellishes the film and avoids the usual musical clichés associated with this unique sub-genre.
Sherlock Holmes: A Game of Shadows is very entertaining holiday fare and is certainly not an inferior sequel. Twice now director Guy Ritchie has exceeded expectations and made amends for previous sins (need we list them?). Plus, it is always a pleasure to see genre stalwart, rent-a-German and purveyor of Ferrero Roche, Wolf Kahler back on the screen. On a parting note, Sherlock Holmes: A Game of Shadows is quite surprisingly strong in content. It is interesting to see how Mr. Ritchie has carefully shot and choreographed the violence so as to secure a PG-13 rating/12 Certificate. I was quite surprised about one scene in which Sherlock Holmes is rather brutally interrogated. Although the unpleasantness is justified, viewers should be aware of this hard edge to the movie.
Sherlock Holmes (2009)
For me the inherent appeal of Conan Doyle’s great detective is the way in which it lends itself to continuous reinvention and interpretation. And so, I was greatly surprised by how well director Guy Ritchie handled the 2009 reboot. He in fact did so well, that you could argue it put his career back on track. You won’t find a deerstalker on the head of Robert Downey Jr’s Holmes. This is very much a Holmes for the current times, with bar knuckle boxing, explosions and frenetic chases around a stylised CGI London, but despite how it sounds it works extremely well. The pacing, tone and humour are just right and so the movie avoid becoming a caricature. Under all the modern trappings the screenplay retains the essential elements of source text, such as a densely plotted narrative, cunning mental gymnastics and of course the complex dynamics of the Holmes, Watson relationship.
For me the inherent appeal of Conan Doyle’s great detective is the way in which it lends itself to continuous reinvention and interpretation. And so, I was greatly surprised by how well director Guy Ritchie handled the 2009 reboot. He in fact did so well, that you could argue it put his career back on track. You won’t find a deerstalker on the head of Robert Downey Jr’s Holmes. This is very much a Holmes for the current times, with bar knuckle boxing, explosions and frenetic chases around a stylised CGI London, but despite how it sounds it works extremely well. The pacing, tone and humour are just right and so the movie avoid becoming a caricature. Under all the modern trappings the screenplay retains the essential elements of source text, such as a densely plotted narrative, cunning mental gymnastics and of course the complex dynamics of the Holmes, Watson relationship.
Robert Downey Jr is a far cry from Peter Cushing’s Holmes. He introduces a slovenly element to the character who’s continuously intellectually absorbed at the expense of others and worldly social niceties. Opium addiction is not mentioned this time round. He excels at the things that engage his intellect, including pugilism, so we have some solid set pieces, driven by Holmes pre-fight analysis. Jude Law’s Doctor Watson is an amiable and long-suffering foil, very much in the Danny Glover mould from Lethal Weapon. He offsets Holmes’s intellect perfectly with his common sense and sarcasm. As for the plot, it centres upon an aristocratic serial killer called Lord Blackwood (Mark Strong), who is caught and tried, sent to the gallows and placed in his family tomb. However, he subsequently appears to rise from the dead, and returns to his killing spree.
It’s all very fast paced and at times you can see how certain characters are introduced to simply expedite the plot and allow Holmes to do his quota of “sleuthing” before the next action sequence. Sarah Greenwood’s production design is a definite high point with here stylised, even borderline steampunk “Victoriana”. Ritchie attends to the proceeding well and balances the films elements, ensuring that just as things start to get a bit silly, he moves them on to another diversion. There is also a great score by Hans Zimmer which is radically different from the usual Violin driven motifs one associates with Holmes. Rachel McAdams, as American femme fatale Irene Adler, is more than the usual window-dressing female characters have in such movies and as ever Eddie Marsan is extremely watchable as the hang dog Inspector Lestrade.
Considering that Sherlock Holmes was released as the MCU was beginning to get traction with cinema audiences, it does well not to just repackage the great detective as yet another superhero. Yes, there are some very flashy visual affectations and contemporary editing techniques but there is still room for film to focus on the dynamics of Holmes and Watson relationship. There is a definite chemistry between both leads and it is the ongoing examination of relationship that once again underpins the story and makes it worth watching. This coupled with the right tone and visual embellishments meant that Sherlock Holmes found an audience and did well at the box office, with the cast and director returning for a sequel.
Evil Dead (2013)
Urugyan writer and director Fede Alvarez obviously has a great deal of passion for the horror genre and certainly understands it a lot better than may other mainstream film makers. Make no mistake, Evil Dead is an extremely hard R rated movie and is certainly not like the usual tame studio output we see so often these days. There is also an emphasis on physical effects rather than CGI. The film also endeavours to re-invent the movies iconic plot to avoid a scene-by-scene retread of Sam Raimi's original. The idea of a groups of friends electing to stay somewhere isolated to help one of the group go "cold turkey", is a clever one. Perhaps the smartest thing the production does is the removal of the character Ash. Replacing someone such as Bruce Campbell is virtually impossible.
Urugyan writer and director Fede Alvarez obviously has a great deal of passion for the horror genre and certainly understands it a lot better than may other mainstream film makers. Make no mistake, Evil Dead is an extremely hard R rated movie and is certainly not like the usual tame studio output we see so often these days. There is also an emphasis on physical effects rather than CGI. The film also endeavours to re-invent the movies iconic plot to avoid a scene-by-scene retread of Sam Raimi's original. The idea of a groups of friends electing to stay somewhere isolated to help one of the group go "cold turkey", is a clever one. Perhaps the smartest thing the production does is the removal of the character Ash. Replacing someone such as Bruce Campbell is virtually impossible.
They say that the road to hell is paved with good intentions, because despite all its positive points, Evil Dead still manages to fall short of the mark. Don't get me wrong, this is far from a poor film. It will meet a lot of horror fan’s needs, especially those looking for a fix of hardcore gore. It's just that once again we see that there’s a fine line between fandom and homage as opposed to what is in fact just a fan service by someone who is a little too close to the subject they love. Sadly, Evil Dead leans towards the latter to its detriment. There is an unnecessary prologue, Fede Alvarez and Rodo Sayagues screenplay falls very flat and the performances seem strained. Overall there is too much focus on production values, rather than the strong character interaction.
Violence and profanity are just two of the many tools a film maker has at their disposal. The key to using them effectively is to do so in a pertinent fashion that validates their presence. Watching something unpleasant happen to a character that you relate to in some capacity, has a great deal of impact. Viewing clinically accurate effects work, just for the sake of it, without the benefit of a wider context is less effective and possibly the biggest school boy mistakes you can make in the horror genre. When you consider the lengths that cinematographer Aaron Morton has gone to makes the woods in which Evil Dead is set in, seem genuinely malevolent, it is a shame that the atmosphere was not more directly linked to the physical on-screen horror.
Overall this reboot of Evil Dead has far more in common with the works of Eli Roth rather than Sam Raimi. Glimpses of invention and originality are ultimately lost in the frenetic third act when the focus shifts from suspense and horror to mayhem and mutilation. The joy of being scared is replaced with the challenge of enduring the repulsive. As the movie didn’t meet its full potential a new franchise did not materialise. The 2015 Starz TV show Ash vs Evil Dead further put pay to any further cinematic outings. Some degree of praise should be given to all concerned for at least trying to buck the current movie trend. Evil Dead has at least had the courage to try and please the traditional horror market rather than simply court the most commercially viable demographic.
Comfy Questions
Despite having written a blog posts claiming that there’s always something to write about, even I have days when I’m lacking inspiration. Or more to the point lacking in motivation to write. And today is a prime example. I’d much rather be doing something else, but I made a promise to myself to keep the blog content flowing. However, I discovered a selection of questions that have been doing the rounds, via Marathal over at Deez Words and decided to answer them. I’m sure you know the form. They’re a selection of “touchy-feely”, non-threatening questions designed to give the reader a simple thumbnail sketch of your “personality”. So, I thought to myself, “there’s today’s blog post”. I will try my best to answer sensibly and give as relevant answers as I can, but you know me.
Despite having written a blog posts claiming that there’s always something to write about, even I have days when I’m lacking inspiration. Or more to the point lacking in motivation to write. And today is a prime example. I’d much rather be doing something else, but I made a promise to myself to keep the blog content flowing. However, I discovered a selection of questions that have been doing the rounds, via Marathal over at Deez Words and decided to answer them. I’m sure you know the form. They’re a selection of “touchy-feely”, non-threatening questions designed to give the reader a simple thumbnail sketch of your “personality”. So, I thought to myself, “there’s today’s blog post”. I will try my best to answer sensibly and give as relevant answers as I can, but you know me.
How do I drink my tea? I don’t. Yes, that’s right I’m a British guy and I don’t like or drink tea. I usually drink bog standard black filter coffee. I don’t care for the whole Starbucks culture of taking beverages and infantilising/bastardising them with caramel, halloumi and chives. I like gin and try to drink that as often as I can.
Favourite dessert? I don’t really have favourites. There are something I like more than others, naturally, but why box yourself in with a favourite. Usually I like desserts that compliment the meal that I’ve just had. For example, after a spicy meal, I like something lemony or light and creamy to cleanse the palette.
Favourite season? My first answer about “favourite” notwithstanding, I prefer the summer co’s I like being warm. The cold and wet make me cranky.
What cheers me up? Humour, wit and good conversation. An episode of Yes Minister always lifts my spirits.
Dogs or Cats? I no longer have pets. In the past I’ve had cats, but they are parasitical bastards. But they look cute, so I guess it’s a quid pro quo.
Dream holiday? For me simply having a specific period of time where I am left to my own devices is a sufficient holiday for my needs.
How many kids do you want? I have one and that is sufficient. I have done my part keeping the species going, without excessively pillaging the environment. Yay Me. He’s an adult now and has his own family now.
Favourite weather? Warm weather, with clear skies and a light breeze. About 20-25 Celsius.
What would your last meal be? Hopefully something I like
If you could spend 24 hours anywhere, any year, where would you choose? Insert some cunningly contrived, time travel scheme here, where I could set up some sort of long-term investment plan that would pay off big time now.
If I were a ghost, who or where would you haunt? Jacob Marley. See how he liked it.
What is your family ancestry? My grandfather researched our family tree extensively during his lifetime. We have traced family back to the St. Bartholomew's Day massacre. Prior to that it’s not so clear but we have links to the Frankish kingdom and a Norman warlord.
What scares you? Wilful ignorance, the intellectual blackout that is spreading throughout western culture and the collapse of functional democratic politics and public discourse. I don’t dig spiders either.
What are you most grateful for? The baggage retrieval system they got at Heathrow. Oh, hang on, That was “worried about”. In that case I guess I’m grateful for my health. Enjoy it while you can.
Dream job? I’ve enjoyed the intellectual challenge that various jobs have provided me with over the years, but frankly I don’t like working, especially for others. I am not defined by what I do to get money. For me the dream is complete financial independence and thus not work ever again, just a life of leisure.
Do you believe in aliens? I believe the possibility that they may exist statistically.
Favourite sport? I don’t like sport, unless Mario Kart is a sport, then its Mario Kart.
How do I relax after a long day? A good meal, a fine wine, excellent company, an engaging film, a good book or video game. Any permutation of these will suffice.
If I could meet one historical figure, who would you choose and why? Again no one really. I’ve learned that meeting your heroes can be a real disappointment.
If I had to be a teacher, what subject would you teach? I would like to teach children aged about seven or so, about the realities of life. You know the sort of stuff. Point out why their painting isn’t good enough to go on the fridge or why they can’t actually be a Disney princess and how life is mainly tedium with brief moments of joy.
Describe your perfect day? Being left the fuck alone. It also helps if it involves gin, a mixed grill and some genoa cake.
Describe yourself in a sentence? Hungry.
Who makes me laugh the most? Witty and amusing, intelligent people. Raconteurs (not people who “think” they’re raconteurs).
What super power would you choose? The one that allows me to be left the fuck alone.
Favourite animal? The edible kind.
What is your biggest accomplishment? I’ve raised a child and they didn’t die.
Jurassic World: Fallen Kingdom (2018)
Critical opinion was very much split this summer when Jurassic World: Fallen Kingdom was released. However, the viewers were somewhat indifferent to the opinions of the professional critics and the movie made a healthy $1,303,476,615 globally, proving once again that the public’s’ continuing love affair with “all things dinosaur” shows no sign of abating. When you factor in the home media market into overall profits, the entire Jurassic Park franchise will have made $5 billion worldwide. So, bearing in mind the old adage that “money talks and bullshit walks”, I think it’s safe to say there’ll be more instalments in the years to come. When faced with such overwhelming box office popularity it seems somewhat pointless to dissect the latest movie, because the film seems to be bullet proof regardless of narrative flaws or ill-conceived plot devices. However, film criticism isn’t about box office popularity but about analysing the relative quality of a movie’s construction and its subsequent standing.
Critical opinion was very much split this summer when Jurassic World: Fallen Kingdom was released. However, the viewers were somewhat indifferent to the opinions of the professional critics and the movie made a healthy $1,303,476,615 globally, proving once again that the public’s’ continuing love affair with “all things dinosaur” shows no sign of abating. When you factor in the home media market into overall profits, the entire Jurassic Park franchise will have made $5 billion worldwide. So, bearing in mind the old adage that “money talks and bullshit walks”, I think it’s safe to say there’ll be more instalments in the years to come. When faced with such overwhelming box office popularity it seems somewhat pointless to dissect the latest movie, because the film seems to be bullet proof regardless of narrative flaws or ill-conceived plot devices. However, film criticism isn’t about box office popularity but about analysing the relative quality of a movie’s construction and its subsequent standing.
Jurassic World: Fallen Kingdom is a film of two distinct halves. The first follows a tried and tested formula and although technically accomplished, doesn’t really offer anything new. In fact, I’d go so far as to say it retreads a lot of ground previously covered in The Lost World: Jurassic Park (1997). As a U.S. Senate hearing in Washington, D.C. debates whether Isla Nublar's dinosaurs should be saved from an impending volcanic eruption, Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island on behalf of business man Benjamin Lockwood (James Cromwell) who has offered the animals safe haven in a nature reserve. However, his aide, Eli Mills (Rafe Spall) has different plans, looking to sell off the dinosaurs to private investors. Which brings us neatly and conveniently to the second half of the film in which the dinosaurs are returned to Lockwood’s big country estate and the subsequently escape. There is also a further variation on a theme, where the bones of the deceased Indominus rex have been used to create a further hybrid using Velociraptor DNA harvested from “Blue”. Naturally this new beast, the Indoraptor, becomes the antagonist of the last hour of the film.
It is the second half of Jurassic World: Fallen Kingdom that is the most enjoyable, as it affords director J. A. Bayona the opportunity to be creative and take the franchise in a different direction to previous instalments. As an experienced director of supernatural dramas, the movie takes an interesting step into the Gothic horror genre. The Indoraptor escapes and stalks Lockwood’s granddaughter Maisie (Isabella Sermon) around the mansion, invoking a great deal of traditional horror imagery, tropes and homages. There is skilful use of silhouettes and flickering lights whilst prowling around a distinctly Gothic mansion, that looks like it came straight out of The Haunting of Hill House. The dinosaur is treated more as a traditional horror movie antagonist such as a vampire or ghost, rather than a beast in a classic “creature feature”. The climax set on a fragile glass atrium could have come straight out of a Hammer horror movie, during the studio’s heyday.
Once again, I wish to return to the subject of the PG-13 rating that seems to dominate the box office at present. A film that is predicated on big dinosaurs eating people is by its very nature going to have to show some degree of violence at some point. However, the parameters of the rating mean that such depictions are going to have to be less than graphic. Therefore, as ever the devil lies in the detail. Jurassic World: Fallen Kingdom works round this issue creatively. Firstly, sound is often used to bolster the onscreen violence, or relative lack of it. A dinosaur will stoop to devour someone in a relatively close shot, with the victim predominantly outside of the frame. Bone crunching noises, screams and tearing sounds are then used to embellish the scene. Furthermore, the death of second tier villain, Ted Levine, is a text book example of how to frame a rather unpleasant act of physical mutilation, without showing too much. It is incredibly clear what has happened, but it is not shown in explicit detail. These innovative workarounds of restraints of the rating are becoming increasingly common. For further details, go watch Kong: Skull Island and the latest Tomb Raider.
Now not all of these visual affectations discussed in the second half of Jurassic World: Fallen Kingdom work. There’s a noticeable tonal shift from the movies first hour and for some its a little too obvious, but I would argue that it’s all a welcome change to a franchise that up until now has been very set in its way. The ending of Jurassic World: Fallen Kingdom clearly indicates where the producers want to take things next. If the studio follows through, then the next instalment will be a far cry from the initial concept of dinosaurs in an amusement park. There is scope for an interesting and extensive exploration of the idea of the human race having to co-exist with another species. The ramifications both on land and at sea are ripe for dramatisation. In the meantime, if you simply want some big budget, glossy dinosaur fun then Jurassic World: Fallen Kingdom can provide that. If you dig deeper, you’ll discover an interesting franchise experiment brought about by the involvement of atypical director, which is a rare thing these days.
Classic Movie Themes: King Solomon's Mines
King Solomon’s Mines is a 1985 Cannon Films production based on the pulp works of H. Rider Haggard. It was quickly made to cash in on the ongoing success of Indiana Jones franchise, although the finished movie bears little resemblance to the classic original novel. Like most Cannon movies from that boom era, it was a cheap and fast enterprise that superficially sported a good cast, but ultimately didn’t do much with them. Veteran director J. Lee Thompson favoured a light and comic approach to the material, as the film’s budget could hardly sustain any major notable set pieces. Yet, it proved popular enough at the box office to warrant a sequel the following year. Allan Quatermain and the Lost City of Gold proved to be as equally silly but by then the public’s interest had waned.
King Solomon’s Mines is a 1985 Cannon Films production based on the pulp works of H. Rider Haggard. It was quickly made to cash in on the ongoing success of Indiana Jones franchise, although the finished movie bears little resemblance to the classic original novel. Like most Cannon movies from that boom era, it was a cheap and fast enterprise that superficially sported a good cast, but ultimately didn’t do much with them. Veteran director J. Lee Thompson favoured a light and comic approach to the material, as the film’s budget could hardly sustain any major notable set pieces. Yet, it proved popular enough at the box office to warrant a sequel the following year. Allan Quatermain and the Lost City of Gold proved to be as equally silly but by then the public’s interest had waned.
Set in 1910 in an unspecified part of colonial Africa, Allen Quartermain (Richard Chamberlin) is an adventurer and fortune hunter hired by Jesse Huston (Sharon Stone) to find her missing father. Professor Huston has been captured by a German military expedition led by Colonel Bockner (Herbert Lom) and Turkish slave-trader and adventurer, Dogati (John Rhys-Davies), who are searching for the legendary King Solomon’s Mines. Cliched adventures such as being chased by natives, wild animals and cooked in a pot ensue, along with modicum of cheap special effects. The screenplay is weak and tries to pass off a bunch of tired stereotypes as humour. Some viewers may find it a dumb, silly adventure. But for many it’s a tedious experience.
However, King Solomon’s Mines has one sole virtue in so far as it boasts a score by the legendary Jerry Goldsmith. Despite being intentionally composed in the idiom of John Williams Indiana Jones March, Goldsmith’s main title theme is sufficiently engaging in its own right. It exudes all of his usual sophistication and charm as well as being devilishly catchy. Despite being a musical caricature, the score, especially the title theme gets away with it in the same way as the The Rutles do. Once again it proves that Jerry Goldsmith could turn his hand to anything, musically speaking. Even when required to produce something “generic”, his work still remains a cut above the rest.
War for the Planet of the Apes (2017)
There are times when watching the third instalment of the contemporary Planet of the Apes franchise that you feel like your experiencing something akin to Terrence Malick's The Thin Red Line. There is a narrative depth and an intelligence to the screenplay that you seldom see these days coming from a major studio production. As with the original movies, the story makes multiple subtle points about the nature of humanity and our self-destructive tendencies. Yet it’s all done in a thought full and measured fashion. If you wish to treat War for the Planet of the Apes as simply a science fiction action movie then you will certainly be provided with such a film. However, if you choose to engage your intellect and ponder some of the deeper aspects of the story you’ll be rewarded with much more.
There are times when watching the third instalment of the contemporary Planet of the Apes franchise that you feel like your experiencing something akin to Terrence Malick's The Thin Red Line. There is a narrative depth and an intelligence to the screenplay that you seldom see these days coming from a major studio production. As with the original movies, the story makes multiple subtle points about the nature of humanity and our self-destructive tendencies. Yet it’s all done in a thought full and measured fashion. If you wish to treat War for the Planet of the Apes as simply a science fiction action movie then you will certainly be provided with such a film. However, if you choose to engage your intellect and ponder some of the deeper aspects of the story you’ll be rewarded with much more.
Set two years on from events of the previous film the battle between humans and apes, instigated by the traitorous Koba (Toby Kebbell), has rendered the world a wasteland. Primate protagonist Caesar (once again an extraordinary Andy Serkis) is intent on protecting his species with as little further bloodshed possible. "I didn't start this war," he rhetorically states, while reflecting on the immense loss of ape life. Yet fate leads him to an inevitable encounter with Woody Harrelson's Colonel McCullough when his wife and child are killed, sending him on a potentially self-destructive journey. Director Matt Reeves steers the proceedings at a steady pace, focusing on character over action and spectacle. Sharing a writing credit with Mark Bomback, Reeves does not stray from the central story. Unlike other big budget movies, despite the underlying technology that dominates such productions, there is little self-indulgence and excess. This is a story driven by characters and their choices and struggles.
Once again, creativity is the key to exploring the boundaries of the PG-13 rating. The scenes in the prison camp are grim and worryingly plausible. There are nods to both past and contemporary despotism. The action scenes are large in scope but lack the modern trend for frenetic editing. There is violence, but it’s shot in such a way where it is powerful, yet not inherently graphic. Tonally, the movie has a very dour and prophetic ambience. It is also clear exactly which side the audience should be rooting for. There are again further nods to other classic war movies. Anti-ape rhetoric adorns soldiers’ helmets with phrase such as "Monkey killer" and "Ape-ocalypse Now". It’s not too difficult to see hints of Colonel Kilgore in Woody Harrelson's despotic military leader.
There is also a subtle expansion of the world that makes War for the Planet of the Apes feel wider in scope than its predecessor. Overgrown decaying cities, disused railway tracks and abandoned Coca-Cola lorries hammer home the point that this is the near future and not the ancient wasteland that Charlton Heston endured in the original. Yet despite the broad canvas in which events take place, the plot rarely stray from Caesar, orangutan Maurice (Karin Konoval) and Bad Ape (Steve Zahn), who provides a reprieve from the otherwise sombre events. As for the ending of War for the Planet of the Apes, it is the only credible outcome, establishing the narrative that Caesar is the messianic saviour of his people. The audience is left to reflect upon the future of both human and ape society and whether they can coexist or not. However, that is a story for another day but considering the ground that has already been covered by the Planet of the Apes trilogy, possibly a superfluous one.
LOTRO: The Maps of Middle-earth
I logged into the third preview of Update 23 on Bullroarer test server this evening and perused the various changes that Standing Stone Games have made. For a lot of the “serious” LOTRO players, the focus of this latest build are the statistical changes to all the various classes. As I am not so au fait with this aspect of the game, I shall leave the matter until it is finalised then discuss it with my kinship who are more learned in these matters. My primary motivation for using the preview server is to get an advance look at any new region and to explore the environment. Standing Stone Games continue to do a sound job of realising the Third Age of Middle-earth and I enjoy the attention to detail they provide along with their adherence to the lore. One of the aspects of LOTRO that I’ve always enjoyed are the regional maps. In this latest preview build, all maps for the new region of Ered Mithrin are now available and the temporary placeholders for Erebor and The Steel Keep have been removed.
I logged into the third preview of Update 23 on Bullroarer test server this evening and perused the various changes that Standing Stone Games have made. For a lot of the “serious” LOTRO players, the focus of this latest build are the statistical changes to all the various classes. As I am not so au fait with this aspect of the game, I shall leave the matter until it is finalised then discuss it with my kinship who are more learned in these matters. My primary motivation for using the preview server is to get an advance look at any new region and to explore the environment. Standing Stone Games continue to do a sound job of realising the Third Age of Middle-earth and I enjoy the attention to detail they provide along with their adherence to the lore. One of the aspects of LOTRO that I’ve always enjoyed are the regional maps. In this latest preview build, all maps for the new region of Ered Mithrin are now available and the temporary placeholders for Erebor and The Steel Keep have been removed.
One of the things that attracted me to The Lord of the Rings when I first read it in the early eighties was the fact that the books came with maps. The hardback editions that I read via my local library had sumptuous fold out maps that clearly detailed the various regions. They help convey the sense of history of Middle-earth and depth of culture and lore that existed. The maps also gave a sense of scale to the Fellowship’s journey as well as context. They were integral to maintaining the illusion that Middle-earth was a living and ancient world. Hence the maps that feature in LOTRO serve a similar purpose beyond their immediate practical functionality. They don’t just provide a means of navigating from point A to point B but further embellish the games sense of immersion by showing a world populated by people in a broad variety of geographical locations. They also often reflect interesting details of lore, or minor comments from the source text.
Over the years, due to changes in the game and the streamlining of earlier zones, some maps have been replaced resulting in two distinct art styles. The contrast can be quite jarring at times. For example, the Bree-land map is one of the oldest in the game and is somewhat cluttered. However, if you then cross into the Barrow-downs the map was redesigned and sports a clearer style and breaks the zone up into two. As new content is added to the game, the newer map style naturally prevails. From an aesthetic point of view, I prefer the this to old. The maps are more functional and convey their respective information efficiently. Overall, I think they are an improvement, although I do still think they have some flaws. As to whether SSG intends to standardise all maps and thus replace those that have the older design remains to be scene.
Although the more contemporary LOTRO maps exude an appropriate art style and are easier to read, some still have a flaw with regard to conveying navigational data. Some of the maps do not always clearly show what route a player should take to enter a specific region. The other day, I decided on a whim to do some of the quests in Entwood. From memory I vaguely knew I could access the region from either Broadacres or Stonedean in West Rohan. Sadly, the maps lacked sufficient detail to give me a clear course to follow. Thus, I had to spend some time riding around the various hills that separate zones, until I found the right route. I believe access to Wildermore is similarly esoteric. Another problem are instance maps. They only become fully visible as you explore. If you leave and subsequently return to an instance, the process has to be repeated. Surely the logical thing would be to make it permanently available once the player had initially unlocked it.
The maps in LOTRO are also poor at conveying data for regions that are set on multiple levels. Top down representations do not adequately express three-dimensional data, which can lead to confusion and frustration, especially in instances such as the Grand Stair in Moria. In the past when running this instance, I would have to rely on third party diagrams, outside of the game itself. Another map within LOTRO that is notoriously unintuitive when it comes to travelling around is the Misty Mountains. It displays what appear to be clear linear routes between key locations but fails to convey the topographical features that will impede you. Again, it is steep slopes or crevasses that bar your way. Now there may well be players who will take the view that these maps are not supposed to make things that easy for you and that their deliberate vagaries are designed to force the player to explore. That may well be true, but I find premeditated inconvenience to be poor game design choice. A map that doesn’t impart the necessary data you need to successfully navigate the area it represents, has fundamentally failed in its purpose as far as I’m concerned.
The key to success in getting the most out of the various regional maps in LOTRO is to familiarise yourself with both the pictorial representation of each zone and cross reference that with practical first-hand experience. Basically, learn your way around the physical foibles of an area and use that knowledge in conjunction with the map. The only downside of this strategy is that LOTRO is a big game so that’s a lot of information to commit to memory. Overall, I’m mainly familiar with the zone I’m currently questing through or those that I have a special affinity to. I haven’t really spent any time in South Mirkwood or parts of Rohan since those regions were released. Therefore, I often cannot immediately recall their subtleties or quirks. May be this is something else that can be added to the list of “bug” fixes and “quality of life improvements that SSG need to address. Clearer, more intuitive maps are only going to become more essential as the game continues to expand.
Dawn of the Planet of the Apes (2014)
Unlike so many other blockbusters Dawn of the Planet of the Apes is not just peddling a vacuous spectacle lacking any substance. The sequel to the 2011 reboot embraces both political and social concepts and attempts to explore them in a meaningful fashion. It is absorbing and intelligent, making its point without being too heavy handed. The motion captured performances and visual effects are outstanding, yet do not swamp the story or the subtleties of the actor’s performances. It is also surprising to see a mainstream Hollywood movie cultivate such a bleak and melancholic tone.
Unlike so many other blockbusters Dawn of the Planet of the Apes is not just peddling a vacuous spectacle lacking any substance. The sequel to the 2011 reboot embraces both political and social concepts and attempts to explore them in a meaningful fashion. It is absorbing and intelligent, making its point without being too heavy handed. The motion captured performances and visual effects are outstanding, yet do not swamp the story or the subtleties of the actor’s performances. It is also surprising to see a mainstream Hollywood movie cultivate such a bleak and melancholic tone.
I was not expecting great things from Dawn of the Planet of the Apes. I was raised on reruns of the original Planet of the Apes franchise and was frankly reticent to invest time in movies that were simply going to revisits old ground. However, Dawn of the Planet of the Apes has a greater depth to its narrative than I anticipated and is surprising critical of many contemporary political issues. The story not only explores the concept of institutionalised racism but wider societal inequality and the abuse of power that so often arises in all forms of politics. The thorny issue of gun control is alluded to, although obliquely.
Plot wise, Dawn of the Planet of the Apes takes a familiar story and simply tells it form a different perspective. Since the outbreak of the ALZ-113 virus, Caesar (Andy Serkis) and his genetically modified apes have been living peacefully in Muir Woods. When a band of wandering human survivors encounters them, both parties are equally surprised. After a violent incident, Caesar orders them to leave. However, the matter causes divisions in both human and ape societies. Koba (Toby Kebbell) wishes the apes to strike against humans while they still have the upper hand and likewise Dreyfus (Gary Oldman) wants the humans to deal with the simian threat, once and for all. However, not all humans takes such a hawkish stance. Malcolm (Jason Clarke) is curious about Caesar and feels an affinity towards him as both are struggling fathers.
Director Matt Reeves and screenwriters Rick Jaffa, Amanda Silver and Mark Bomback embellish the narrative with a great deal of thought and creativity. The apes use of sign language is innovative and appropriate. The sophisticated CGI does not impede the actor’s performance. Many of the apes have clear personalities and are strongly defined. The lack of dialogue in many scenes works very well, allowing cinematic art and the physical skill of the actors to tell the story. It's quite astonishing how far the motion capture technology has advanced when it comes to creating tangible characters that audiences can genuinely empathise with. Dawn of the Planet of the Apes is a superior movie to its predecessor, which although enjoyable, still felt very much like a prologue rather than a story in its own right.
However, Dawn of the Planet of the Apes does have a few inconsistencies. Gary Oldman is once again under used and liberal human leader Malcolm is a little bland. As ever with movies, it is the bad guys who are potentially the most interesting character. Yet I was left somewhat underwhelmed by the chimp Koba. It would have been interesting to see a greater exploration of his back story. I get the impression that the editing process left actor Toby Kebbell's performance somewhat choppy.
Overall, Dawn of the Planet of the Apes is an above average blockbuster movie that requires audiences to think and reflect, rather than just passively view. It moves the long-term story arc of the franchise forward into interesting new territory. It is quite hard hitting within the confines of its broad PG-13 rating and is surprisingly not afraid to pursue a sombre tone. The technical achievements of the production are prodigious and prove that motion capture performances are as relevant and meaningful as any other form of acting.
Rise of the Planet of the Apes (2011)
The greatest asset of Rise of The Planet of the Apes is the CGI chimpanzee, Caesar, played by Andy Serkis. It is also the films greatest hindrance. Too much focus is spent on the titular character at the expensive of the remainder of the cast. The pace is also purposely pedestrian to accommodate a list of cinematic pre-requisites that the producers felt must be included. These include moral dilemmas, relationship issues and contemporary ethical themes. If you were hoping that Rupert Wyatt’s Rise of The Planet of The Apes would be a more cerebral spectacle, then you may well be a little disappointed. It is functional and efficient entertainment, but no more than that.
The greatest asset of Rise of The Planet of the Apes is the CGI chimpanzee, Caesar, played by Andy Serkis. It is also the films greatest hindrance. Too much focus is spent on the titular character at the expensive of the remainder of the cast. The pace is also purposely pedestrian to accommodate a list of cinematic pre-requisites that the producers felt must be included. These include moral dilemmas, relationship issues and contemporary ethical themes. If you were hoping that Rupert Wyatt’s Rise of The Planet of The Apes would be a more cerebral spectacle, then you may well be a little disappointed. It is functional and efficient entertainment, but no more than that.
The CGI action scenes of rampaging apes, as shown in the trailer, are well executed but far smaller in scale than you would expect. They also arrive quite near to the films climax and are not as a substantial part of the movie as suggested. There are a few nods to the original series of films during the course of this reboot. But by and large this movie feels that it has been hemmed in and restrained by the need to establish a starting point for a new franchise. Once again, I suspect studio meddling and a continuous stream of memo’s suggesting adjustments based on focus groups and market research.
John Lithgow is good, but there again he is seldom bad. It is also nice to see humanity toppled from its pedestal. I have an inclination for any film that eschews the tired notion that the human race is the summit of evolution and somehow the metaphorical centre of the universe. It cannot be denied that the motion capture techniques certainly do set new standards. But ultimately, if Fox had spent more time focusing on a more even narrative, rather than being pleased with itself by all boxes they were ticking, this would be a better film. Let us hope that the next entry in the series will have a stronger director and a finely-honed screenplay.