Bird Box (2018)
The unfolding apocalypse and the unseen forces that bring it about are never fully explained in Bird Box. The movies also eschews overblown, CGI driven set pieces and spectacle. The scenario is simply the MacGuffin which director Susanne Bier uses to facilitate her exploration of the angst of motherhood and societal decay. This is superficially a genre movie but it’s mainly about people, performances and ideas. There have been some comparisons to A Quiet Place, but this movie is actually closer to The Mist. The film is at its best during the first act, when setting up its premise and at the start of “the event”. The second act remains above average mainly due to the strength of the cast, as they weather the ongoing storm. The denouement is somewhat functional and is possibly the weakest aspect of the film. Yet, the strength of what has gone before and as ever the robust nature of Sandra Bullock’s performance keeps things on track.
The unfolding apocalypse and the unseen forces that bring it about are never fully explained in Bird Box. The movies also eschews overblown, CGI driven set pieces and spectacle. The scenario is simply the MacGuffin which director Susanne Bier uses to facilitate her exploration of the angst of motherhood and societal decay. This is superficially a genre movie but it’s mainly about people, performances and ideas. There have been some comparisons to A Quiet Place, but this movie is actually closer to The Mist. The film is at its best during the first act, when setting up its premise and at the start of “the event”. The second act remains above average mainly due to the strength of the cast, as they weather the ongoing storm. The denouement is somewhat functional and is possibly the weakest aspect of the film. Yet, the strength of what has gone before and as ever the robust nature of Sandra Bullock’s performance keeps things on track.
Artists Malorie (Sandra Bullock) is pregnant and struggling to come to terms with her impending motherhood. While in hospital for a routine check-up, she and her sister Jessica (Sarah Paulson) witness an outbreak of mass psychosis. Driven by some unseen force, people start killing themselves. Fleeing the ensuing carnage, they escape by car only to crash due to the ongoing unrest. Malorie takes shelter along with others in a large house, owned by suburban house husband Greg (BD Wong). Among the survivors are Greg’s surly neighbour Douglas (John Malkovitch) and ex-soldier Tom (Trevante Rhodes). They theorise that the unseen force kills you by manifesting itself as your greatest fear or tricks you by pretending to be a loved one or friend. Trapped and with diminishing supplies the group realise that if they venture outside, they will have to remain blindfolded, rather than risk seeing the threatening malevolent presence.
The initial scenes of chaos and its rapid spread are well handled by director Susanne Bier. The depiction of people beating their heads against plate glass windows, stepping out into traffic and acts of self-immolation are genuinely shocking. Because the scope and scale of these events are far more localised, as opposed the grandiose aerial shots of the zombie apocalypse in Wold War Z, they are quite powerful. The focus on character during the scenes where the cast are secure in the house or when they venture out to the supermarket are also refreshing. Instead of excessive set pieces, we simply get a strong study of beleaguered people trying hard not to lose their grip on reality. Sometimes the script by Eric Heisserer (Arrival, Extinction) does become a little too expositionary. But there are enough succinct musings and philosophical introspection among the cast to keep things moving forward.
Bird Box presents viewers with two timelines, one set during the apocalypse and the other five years on. The first deals with the survivors and their struggle to secure their house. The second focuses on Malorie’s blindfolded journey down a river with two young children. Both are well crafted but the conspicuous absence in the latter timeline of some of the protagonists from the first, somewhat mitigates the tension, as most viewers will accurately surmise their fate. The final act is also predictable as the screenplay paints the narrative into a dramatic corner. Again, astute audiences will guess the way events will end and the conceit of the film conclusion. That is not to say that the story’s resolution is inadequate, but it is somewhat reduced in impact as a result of its lack of surprise. However, Sandra Bullock does a lot of heavy lifting here and carries the proceedings over the finish line.
Despite the inconsistencies of the script, Bird Box hits its stride when it focuses on the basics. By presenting us with a precarious safe place to hide from the apocalypse, it gives audiences an opportunity to muse upon how they would react under such circumstances. If also gives us a sufficient glimpse of “hell on earth” rather than belabouring us with endless CGI showreels. The enigmatic foe (or foes) are also an intriguing plot device. What the screenplay alludes to as to what is exactly happening, is just enough to oil the wheels of suspense. It’s a timely reminder that less can indeed be more. Finally, it should be noted that Netflix movies do not carry much overt information with regard to ratings. Bird Box is not a family friendly film and it would have certainly received a R rating if released theatrically. The lack of computer-generated spectacle does not mean an absence of violence.
A Christmas Carol (1938)
I have written previously about the versatility of Charles Dickens’ classic story and how it lends itself to multiple adaptations and interpretations. This 1938 film version tests that very theory as the reformation and redemption of Ebenezer Scrooge is presented through the medium of Golden Age Hollywood. A Christmas Carol sees the source text sanitised, infantilised and presented as a polished example of wholesome American film making. It has the high production values you’d expect from a studio such as MGM at the time, along with a cloyingly sentimental screenplay that dodges the politics of the book and renders the proceedings into an odd mixture of comedy and soft US Christian propaganda. It presents a very stylised depiction of Dickensian England and bears too many of the obvious foibles and tropes of the studio system that produced the movie.
I have written previously about the versatility of Charles Dickens’ classic story and how it lends itself to multiple adaptations and interpretations. This 1938 film version tests that very theory as the reformation and redemption of Ebenezer Scrooge is presented through the medium of Golden Age Hollywood. A Christmas Carol sees the source text sanitised, infantilised and presented as a polished example of wholesome American film making. It has the high production values you’d expect from a studio such as MGM at the time, along with a cloyingly sentimental screenplay that dodges the politics of the book and renders the proceedings into an odd mixture of comedy and soft US Christian propaganda. It presents a very stylised depiction of Dickensian England and bears too many of the obvious foibles and tropes of the studio system that produced the movie.
This movie deals in caricatures and archetypes. Reginald Owen portrayal of Scrooge is hamstrung immediately due to his comical stylised “age make up”. His performance is neither scary, embittered or intimidating. He simply comes across as rather grumpy old man who is just “put out” about contemporary life. His Nephew Fred (Barry MacKay) has an expanded role and an ongoing romantic interest via his fiancée. As for Bob Cratchit (Gene Lockheart), his is reduced to nothing more than a comic foil (who is sacked due to his participation in a snowball fight). His rotund build hardly convinces viewers of his poverty. Similarly, his home, children and wife are only “poor” in the Hollywood sense of the word. With such one-dimensional depictions, it is very hard to become overtly invested in the characters.
Moving on to Marley’s Ghost (Leo G. Carrol) and the three spirits, all of these characters are subsequently bastardised. Scrooge calls the night watchmen when Marley first appears, and the use of comedy again robs the subsequent scenes of any drama. The Ghost of Christmas past looks like she’s stepped straight out of a Broadway chorus line, complete with a star on top of her hat. The Ghost of Christmas Present is also saddled with humorous vignettes as he uses the spirit of Christmas to stop several contrived comedic fights. The final spirit follows the standard depiction of a hooded spectre, but its scenes are pure melodrama. The screenplay removes the more sinister and bleaker elements of the book, such as “ignorance and want”, along with the pawn shop meeting and Scrooge lying dead in his own bed. There are further frivolous scenes of Fred and his fiancée attending church to bolster their piety.
This is a far from subtle or nuanced adaptation. It is contrived and tonally somewhat childish with its continual veering from humour to melodrama. Scrooge’s redemption and subsequent visit to the Cratchits house to make amends is borderline nauseating and devoid of any genuine adult emotion. It’s all very highly polished and superficial. The only aspect of the story that is clear is the perfunctory handling of the Christian message, which is no more sophisticated in this instance than “don’t be mean to each other”. Plus, this film includes one of the healthiest Tiny Tim’s ever seen. A Christmas Carol may amuse and entertain those who are interested in seeing how classic Hollywood film making was a finely-honed process that always lead to a specific product. It may also be of interest to completists who wish to seek out as many versions of the book as possible. But for those who want a more robust, honest and sophisticated adaptation of Dickens, then look elsewhere.
A Divided Nation
I’ve heard some journalists and political pundits refer to Brexit as an insoluble problem. Technically that is not the case. A Hard Brexit would effectively meet the criteria of the 2016 referendum result and its binary question. What is insoluble is the government delivering a result that pleases all parties and more importantly doesn’t put the UK economy at risk. Brexit is a microcosm of everything that is wrong with UK politics at the present. The original very straight forward question on the ballot paper did not indicate in any way the logistical, procedural and legal complexities of extricating the UK from the EU after over forty years of major harmonisation and integration. The leave campaign openly stated that this very process would be easy and getting a good deal was not an issue. Both were lies. Hence, we now find ourselves in a situation where the realities of what Brexit entails are manifestly clear, and no one agrees as to what is the best way to proceed. And all of this is panning out against a background of broken, tribal and hostile politics. It is a recipe for disaster and now that the Brexit Pandora’s Box has been opened, there is no scenario that doesn’t lead to future problems and unrest.
I’ve heard some journalists and political pundits refer to Brexit as an insoluble problem. Technically that is not the case. A Hard Brexit would effectively meet the criteria of the 2016 referendum result and its binary question. What is insoluble is the government delivering a result that pleases all parties and more importantly doesn’t put the UK economy at risk. Brexit is a microcosm of everything that is wrong with UK politics at the present. The original very straight forward question on the ballot paper did not indicate in any way the logistical, procedural and legal complexities of extricating the UK from the EU after over forty years of major harmonisation and integration. The leave campaign openly stated that this very process would be easy and getting a good deal was not an issue. Both were lies. Hence, we now find ourselves in a situation where the realities of what Brexit entails are manifestly clear, and no one agrees as to what is the best way to proceed. And all of this is panning out against a background of broken, tribal and hostile politics. It is a recipe for disaster and now that the Brexit Pandora’s Box has been opened, there is no scenario that doesn’t lead to future problems and unrest.
The UK is a divided country. Its political parties seem to have abandoned very specific parts of society and entire regions have been neglected by successive governments. The gap between rich and poor is increasing, and the middle classes are no longer insulated from the country’s economic woes. Social changes over the last fifty years have seen a shift away from traditional political doctrines and the sense of being part of specific communities and groups. Consumerism has led to politics being seen as a means of personal gain and that is what often shapes the electorates position on major issues at elections. There is also an ever-widening gulf between the generations and the way they view the world. The young are happy to embrace a global market and are not constrained by past prejudices and cultural baggage. They also do not fear social change. Where as the Baby Boomer generation are very much entrenched in a mindset born of their time. Hence foreigners cannot be trusted and fantasies about British Exceptionalism are still harboured. A fictional past is mourned, and a modern future is feared.
Possibly the most worrying development in recent years is the shift in politics from fact based, intellectually driven debate into wanton tribalism. The “politics of feelings” has emerged as a result of social media and the internet. Equal access to online platforms has fostered an environment of false equivalence and the mainstream medias obsession with balance has perpetuated the myth that all views, no matter how unfounded or extreme, are of equal merit. Then there was Michael Gove’s misquoted statement that “people in this country have had enough of experts”. Although he was referencing a very specific group of tail chasing think tanks, the point was embraced in certain quarters. There has been a growing pushback of late against academia because it is by its very nature exclusionary. Some people simply do not like the idea that having no knowledge or experience of a specific thing, somehow keeps them from the top table and that their views are not treated with the same deference of those with a deeper understanding. The current socio-political changes in the UK go hand-in-hand with the spreading intellectual blackout throughout western democracies.
A great many people are legitimately unhappy with the way politics and social change has bypassed their concerns and wishes. The UK has an ageing political system that seems to be ill equipped for the modern world and more importantly an increasing diversity of opinions and views. Both the major political parties seem to be far too self-obsessed and removed from the reality of most of the electorates daily experience. Parliament needs to be overhauled, relocated and divested of many of the patrician traditions it is steeped in. Proportional representation also needs to be embraced. Yet sadly, none of these things appears to be immediate propositions. The growing disillusionment with mainstream politics leaves much of the electorate politically homeless. The major concern here is that the gap left by the demise of the only UK protest party, UKIP, may drive some into the waiting arms of the hard right or the extreme left. Are we looking at a return to the violent and tumultuous political times of the seventies? Because politics and governance driven by either extreme of the political spectrum seldom benefits the country.
What next for Theresa May’s EU deal?
And so the UK continues to act out of character with ongoing acts of protest and catharticism. Journalist Agnes C. Poirier, the UK editor for the French weekly magazine Marianne recently said on the BBC news discussion show Dateline London, that the UK “was behaving in a very un-British way” in so far as after decades of not cleaving to strong ideologies it is now doing the opposite over Brexit and also by being “passionate”, which is not a trait usually associated with the UK populous and their relationship with politics. It begs the question where will it all end? Well I think with regard to Brexit, the answer is not well. I believe any outcome available will be broadly unsatisfactory to the UK electorate. A Hard Brexit comes with potential economic turmoil, job loss and more. The Prime Minister’s compromise deal pleases neither side of the debate and entails the risk associated with a finite transition period and a dependency for the government to negotiate “good trade deals”. And the prospect of cancelling Brexit and retroactively remaining will cause social unrest and a further loss of faith in the UK political system. No one group is going to win, because there’s nothing to win. Brexit has simply removed a plaster from a festering national wound that has been neglected for decades.
As we as a nation are navigating uncharted territory politically and socially, it makes it very difficult to make any accurate predictions. I have never held the view that we cannot leave the EU. I have simply maintained that it cannot be done quickly and yet expected to yield the economic results that some politicians claimed. If the referendum had asked a more detailed question, stating a staged exit over several parliaments, then the very small leave result would be more palatable and practical. But it wasn’t and that is why we find ourselves in this mess. And Brexit is just the tip of the iceberg. It is simply a distillation of ongoing divide in opinion that is rife in the UK. Over the last two years it has become increasingly clear that many of the so-called shared “British values” are not universally embraced. The public do not all think in the same way regarding racism, equality, empathy and shared economic prosperity. And due to the “footballfication” of these sorts of issues, there is no scope for concessions, compromise of “agreeing to disagree”. You simply pick a side and hate the other. If you dare to opt out, then by default you’re an enemy because the prevailing mindset is “it’s my way or the highway”.
The British Empire at its height in the 20th Century
I am expecting a Hard Brexit and the consequences that go along with that. One can prepare to a degree but so many of the potential issues that could arise are out of our personal control. I fully expect the UK public to be in turmoil as a result and for there to be a series of minority governments in the immediate years to come. If there are hard economic consequences, then many who voted for Brexit may well be surprised that they are suffering as a result of their actions. Naturally blame will be placed at every door bar those who are genuinely responsible. The divide between rich and poor will grow, and social unrest increase as a result. As for the thorny issue of immigration, we will simply see European migrant labour replaced with international or, more than likely, Commonwealth migrant labour. That will not be well received in certain quarters. The systemic failing of our educational system and the cultural snobbery regarding many service-related jobs will leave us ill equipped to maintain the status quo regarding the way we live and consume. I suspect that the resulting backlash that is coming will end in violence and even fatalities. I believe the political classes will be at increased risk. But maybe Brexit and what proceeds it is a much needed and long postponed reality check for a nation. Perhaps we can finally lay to rest the myth on British Exceptionalism as well as put our colonial past and glory days behind us and find a new appropriate role in the modern world. However, if such a lesson can be learned it will be long, extremely painful and come with a significant price.
The Christmas Edition of the Radio Times
For those outside of the UK, The Radio Times is one of the most popular TV guide magazines in the country. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith, then general manager of the BBC. It used to exclusively cover only BBC TV and radio content but over the years has expanded its listing to cover all terrestrial, satellite, cable and internet TV channels. As well as printing the various TV schedules it also contains articles, reviews and interviews associated with most forms of UK media. It is broadly deemed to be in good standing with the population and still boasts a high standard of journalism. However, over recent years The Radio Times has suffered a decline in readership the same way that all traditional print media has. Hence the bulk of its current readership are mainly those who have grown up with it and have a strong bond with it.
For those outside of the UK, The Radio Times is one of the most popular TV guide magazines in the country. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith, then general manager of the BBC. It used to exclusively cover only BBC TV and radio content but over the years has expanded its listing to cover all terrestrial, satellite, cable and internet TV channels. As well as printing the various TV schedules it also contains articles, reviews and interviews associated with most forms of UK media. It is broadly deemed to be in good standing with the population and still boasts a high standard of journalism. However, over recent years The Radio Times has suffered a decline in readership the same way that all traditional print media has. Hence the bulk of its current readership are mainly those who have grown up with it and have a strong bond with it.
Which leads me nicely on to the point of this post. Every year, The Radio Times publishes a double edition that spans the Christmas and New Year period. It naturally has a seasonal cover and for many people, marks the imminent arrival of Christmas itself. For as long as I can remember, I have always bought or at least had access to this bumper festive publication. Pawing over it, checking the remote and obscure reaches of the TV schedules for hidden gems has always been a Christmas ritual for myself and many others. The significance of this process was especially important during my youth in the seventies. As I have mentioned in previous posts, watching TV as a family, especially films were a major part of our leisure time. It nurtured my love of cinema, film making and broadened my cultural horizons. The Radio Times Christmas edition exemplified this as it represented a two-week period in which I was off from school, most of the shops were closed and the days were cold and short. This presented an ideal opportunity to curl up on the sofa and watch TV (which consisted initially of just three channels).
It’s difficult to convey to a generation that is used to having access to a wide variety of content across multiple platforms and devices, the excitement brought about by the Christmas TV schedules in seventies Britain. There was a far greater quantity and variety of content aged at children as the broadcasters new the schools were closed. Hence you could often start the day with a Disney Classic such as The Aristocats or The Love Bug. There would also be frequent classic films throughout the days, often with a seasonal flavour, such as Alistair Sim as Scrooge. It was also more likely that fantasy films would make the schedules, so movies such as Jason and the Argonauts or At the Earth Core were warmly welcomed. Then as I got older and TV expanded into late night and twenty-four hours programming, I frequently found that my taste for seasonal supernatural content was catered for, with repeats of classic MR James adaptations or by actors of note such as Tom Baker or Christopher Lee reading a spooky tale. For decades, this time of year was also the only chance you would get to see various Laurel and Hardy shorts.
Sadly, the march of time and progress has changed the TV scheduling landscape and the very way we consume television. Gone are the days were the Christmas Special episode of a popular sitcom or variety show would garner audiences of over 20 million viewers. The other major change with respect to films, is that I’ve seen most recent releases long before they reach terrestrial channels in the UK. Unfortunately, the Christmas Edition of The Radio Times, no longer holds any substantial surprises or hidden gems. Naturally there are some new shows of merit to look forward to, but it doesn’t require me to circle titles in the magazine itself anymore. Nor do I have to write a detailed list and program multiple VCRs. If I now miss anything of note I simply watch it via an on-demand player. Or if I see that The Devil Rides Out is showing in the small hours of a commercial station, I simply put on my Blu-ray copy and enjoy it in high definition, in the right aspect ratio and without the annoyance of adverts every ten minutes. Times change and there comes appoint where tradition and ritual are abandoned. I have just read through the latest Christmas Edition of The Radio Times, but the process now serves as an exercise in nostalgia rather than practical necessity. However, I’m not quite ready to let go yet (mainly due to Talking Pictures TV). Perhaps next year or the one after.
Scrooge (1935)
This 1935 British adaptation of Dickens’ classic book was the first movie version of the story to have sound. Director Henry Edwards had to work creatively to stretch the productions modest budget. Subsequently the production is reliant on fog and snow shrouded sets, mainly to keep costs down. However, this does provide a veneer of authenticity in its depiction of a divided and polluted London. There are a few miniature shots showing the capital city at night and a handful of location shots inside various public buildings to establish the period setting. But mainly this is a set bound production and a sombre one at that. The underlying thrust of this adaptation is to highlight the class division as well as the contrasting wealth and poverty of the country at the time. It is this perspective that is used as the fulcrum of Scrooge’s redemption.
This 1935 British adaptation of Dickens’ classic book was the first movie version of the story to have sound. Director Henry Edwards had to work creatively to stretch the productions modest budget. Subsequently the production is reliant on fog and snow shrouded sets, mainly to keep costs down. However, this does provide a veneer of authenticity in its depiction of a divided and polluted London. There are a few miniature shots showing the capital city at night and a handful of location shots inside various public buildings to establish the period setting. But mainly this is a set bound production and a sombre one at that. The underlying thrust of this adaptation is to highlight the class division as well as the contrasting wealth and poverty of the country at the time. It is this perspective that is used as the fulcrum of Scrooge’s redemption.
Seymour Hicks plays Ebenezer Scrooge. A distinguished actor from the Edwardian era his initial portrayal of iconic miser is both petulant and terse. Whereas Bob Cratchit (Donald Calthrop) is depicted as a dominated man who fears for his situation. Unlike other productions, this one spends more time focusing on the different social classes inhabiting the capital. We see Scrooge’s nephew Fred buying Christmas provisions and entering into the spirit of the season. This is then offset against Scrooge taking a lonely meal on his own. Bob Cratchits meagre yuletide provisions and his family’s poverty are then contrasted by the rich gathering at a Lord Mayor’s banquet. The screenplay also spends more time building up to Jacob Marley’s visit. This is quite a tense and atmospheric stretch of the film. It has a hint of gothic horror about it and is well contrived.
Sadly, possibly for budgetary reasons, Marley’s ghost can only be seen by Scrooge. We hear his voice but see only doors open and Scrooge addressing an empty chair. This approach does diminish the power of the scene. The next Ghost, the Spirit of Christmas Past is merely a glowing shape of a man. The screenplay then proceeds to abridge much of the source text and we see nothing of Scrooge’s school days or apprenticeship with Fezziwig. We simply go straight to the termination of Scrooge’s engagement. The Spirit of Christmas Present (Oscar Asche) is thankfully a physical being and sticks to the traditional depiction of the character. The Ghost of Christmas Yet to Come is shown as the silhouette of pointing hand. There are a few optical effects to embellish these later scenes. Again, at this stage of the story, the screenplay further condenses much of narrative. Scrooge himself becomes quite complaint by his second ghostly visit.
Yet despite the various omissions of certain iconic scenes, the script still keeps occasional snatches of dialogue direct from the book. Bob Cratchit jests about the possibility of someone climbing over the back wall and stealing the family’s Christmas pudding. We also get a montage of how everyday people celebrate the meaning of Christmas. We see both a ship’s crew at sea and two remote lighthouse keepers exchanging season’s greetings. The movie takes a second turn towards the sinister when the Housekeeper, the Washer Woman and Undertaker meet up at Old Joe’s pawn shop and hawk the wears they’ve plundered from a dead Scrooge. It is atmospheric and shot in a rather menacing and baroque fashion. It makes its point well. It should also be noted that this is one of a handful of adaptations that shows Bob Cratchit mourning over the actual body of a dead Tiny Tim. It is both a tragic and rather stark scene.
The climax of the film focuses very much on a joyous and genuinely happy Scrooge. The screenplay makes it very clear that this is about his spiritual salvation, rather than just an old miser discovering the joy of helping others. We see Scrooge visit his nephew, but the focus is more upon his compulsion to help Bob Cratchit. When he sees him at work the following day their redefined relationship culminates in a visit to church with an emphasis upon spiritual conversion. All of which would work fine as an ending, if Scrooge’s character transformation hadn’t had been so abrupt. The tipping point comes to early during the film and is made too clear, so therefore lacks nuance. However, the film is still of note for attempting to depict the fundamental inequalities made clear in original story. Scrooge is surprisingly bleak, tonally quite grim and doesn’t sanitise the notion of poverty.
NB. This movie has been in and out of the public domain for many a year. There is a truncated US version that runs just 63 minutes and the longer UK edit that I watched that runs 78 minutes. Many prints that are in circulation are in very poor condition. The US release is also available in a colourised edition. However, there was a full restoration undertaken by Renown Pictures in 2009 which is available on Amazon Prime in the UK. This version by far offers the best picture quality and is the one I would recommend people to watch.
Star Trek Online: The Other MMO
It’s a curious thing that despite having played the MMORPG Star Trek Online, fairly regularly since its launch in 2010, I don’t write about it consistently. This realisation has given me pause for thought because I’ve spent a of lot of time playing my primary character over the years. I enjoy the fundamentals of this game. It is very lore friendly, with strong narratives and themes. As a hybrid free-to-play game it is very accessible, especially to new players. There are regularly events and activities scheduled throughout the year, outside of the core game content. And yes, if you want to sink a fortune buying ships from the cash store, you certainly can do so but it is not essential to have a positive game experience. Yet despite many positive points, looking back over my written output this year, STO doesn’t get as much attention from me as LOTRO. Which I guess is the reason for this post. I feel “obliged” to say something about the game.
It’s a curious thing that despite having played the MMORPG Star Trek Online, fairly regularly since its launch in 2010, I don’t write about it consistently. This realisation has given me pause for thought because I’ve spent a of lot of time playing my primary character over the years. I enjoy the fundamentals of this game. It is very lore friendly, with strong narratives and themes. As a hybrid free-to-play game it is very accessible, especially to new players. There are regularly events and activities scheduled throughout the year, outside of the core game content. And yes, if you want to sink a fortune buying ships from the cash store, you certainly can do so but it is not essential to have a positive game experience. Yet despite many positive points, looking back over my written output this year, STO doesn’t get as much attention from me as LOTRO. Which I guess is the reason for this post. I feel “obliged” to say something about the game.
At present in Star Trek Online, the seasonal festival Q’s Winter Wonderland, is in full swing. As ever it is packed to the gunwales with activities. Players can battle the Kramp’lhri, enjoy a snowball fight, try Klingon fishing as well as take part in a pie eating competition. The daily “Fastest Game on Ice” contributes towards claiming a new, shiny Fek’Ihri S’torr Warship (T6). If you earn this on one character it unlocks across your entire account for other alts. Compared to other Winter Festivals, the one in STO doesn’t quite feel as false and contrived. Having the bizarre variety of events pan out as part of a scheme cooked up by Q works quite well lore-wise. The events themselves are also enjoyable and there is plenty of scope to earn the respective yuletide barter currency. After all, who doesn’t want a Christmas sweater for their Gorn captain?
The episodic nature of much of the narrative content of STO means that it‘s a game that can be tackled in either bite size chunks or at length, depending on your preference. I often play in fits and starts, when I’m between other games. At present I’m slowly advancing some alts through older content and bringing them all slowly up to speed with the various reputation factions. I have sufficient ships at present and have a build that I am happy with, that gets things done. So, there’s no need for any major tweaking for the moment. STO certainly provides me with a healthy fix of MMO excitement but unlike other games such as LOTRO, it doesn’t blow me away with its community and wider social component. I converse and exchange ideas with other in Reddit Alert chat when I log into the game, but I don’t “know” other players as I do in other games. And I miss that to a degree but the community although friendly is very insular and self-sufficient. If you want more, then you have to seek it out. It doesn’t proactively come to you.
Unlike some MMOs that have struggled in recent years, STO seems to be ticking over quite well at present. It is currently tied-in to season 2 of Star Trek: Discovery and has voice acting credits from Mary Wiseman, reprising her role as Starfleet Cadet Sylvia Tilley. A road map for the year ahead has already been published, indicating that the game has further feature episodes, epic events and taskforce operations to come in 2019. Admittedly a lot of this will be more of the same, but for an MMO that is coming up to nine years old, the addition of new content is always welcome. If Cryptic could also spend some time on “quality of life” improvements and polishing some of the game’s rough edges, then that would certainly improve community relations. They’ve been strained of late. But overall, I am pleased to have this MMO at my disposal as it has proven, over yet another twelve months, to be a dependable game. Whether filling the gaps in my leisure schedule or being its focus.
Strictly Come Dancing 2018: Part 2
Series 16 of Strictly Come Dancing has been in many ways the most predictable season to date. It became clear within a matter of weeks as to which couples were the front runners, who had potential to grow and who would only go so far. Apart from the slight anomaly of Vick Hope going out early in week 5 due to a poorly conceived dance (blame Graziano for that), the show has followed a fairly unsurprising route. Therefore, it really comes as no shock to find Joes and Diane, Stacey and Kevin, Ashley and Pasha as well as Faye and Giovanni are going through to next week’s final. Nor should we be astonished by the subtle distinction between the judge’s favourites, and the couples that the public related to and take to their hearts.
Series 16 of Strictly Come Dancing has been in many ways the most predictable season to date. It became clear within a matter of weeks as to which couples were the front runners, who had potential to grow and who would only go so far. Apart from the slight anomaly of Vick Hope going out early in week 5 due to a poorly conceived dance (blame Graziano for that), the show has followed a fairly unsurprising route. Therefore, it really comes as no shock to find Joes and Diane, Stacey and Kevin, Ashley and Pasha as well as Faye and Giovanni are going through to next week’s final. Nor should we be astonished by the subtle distinction between the judge’s favourites, and the couples that the public related to and take to their hearts.
I must admit, I do feel a degree of sympathy for Ashley Roberts and her professional dance partner, Pasha Kovalev. She is a singularly talented and it is clear that she and Pasha spend numerous hours rehearsing and perfecting their routines. Sadly, it is obvious that the lady does not have a substantial fan base, unlike Stacey Dooley and Joe Sugg. It must be incredibly disheartening to find oneself continuously in the dance off despite being top of the leaderboard. I wonder if similar doubts will cross her mind about the final. Irrespective of how good their performances are next week, I do not believe that the public is sufficiently invested in them as a couple. Sadly, this is often the case with couples that are clearly “good”, right from the get-go. The public much prefer those celebrities that go on a traditional “strictly journey”.
Sadly, tonight saw the departure of Paralympian Lauren Steadman. Lauren has been a tenacious and diligent contestant throughout the weeks, along with her professional partner AJ Pritchard. I also feel that she has often been undermarked and given a harder time compared to fellow sportsman Graeme Swann. But such is the nature of Strictly Come Dancing. It is not a pure dance competition and the public vote changes the dynamics of the proceedings greatly. I think its fair to say that Lauren won a great deal of public support which compensated for the lack of marks from the celebrity judges. However, once she found herself in the dance-off tonight against Ashley, the outcome was inevitable. Nevertheless, I feel she can leave feeling proud of her achievements, once again clearly showing that “its about ability and not disability”.
As to the obvious question of who will win next week, I have mixed feelings on the matter. I think that on a purely technical level, it should be either Faye or Ashley. But personality and “the journey” are also key factors. Plus, the public are often governed by their feelings and can be very tribal. Joe Sugg has a strong internet-based fan base and I think it will certainly mobilise to support him. Yet if I were to go to the bookies and place a bet, I put my money on Stacey Dooley. She very much “one of the people” and possibly reflects a lot of the core Strictly fan demographics. Also, she is partnered with Kevin Clifton who is a firm favourite with viewers. He’s been in the final four times and so there’s the question of “always the bridesmaid, never the bride”. And we also are living in times when the general public are not so deferential towards experts or in this case judges. However, this time next week we’ll know for certain. Regardless of the outcome, it’s been a very entertaining season and once again the bar has been raised.
The LOTRO Legacy Bundle
I wrote recently about how I wished that lifetime subscriptions were still available for the MMORPG, The Lord of the Rings Online. I explored the value of such deals and concluded that the ongoing revival of the game, especially with regard to the launch of the progression Legendary Servers, presented the developers with the perfect opportunity to offer something similar to new players. Oddly enough, Standing Stone Games have just announced the LOTRO Legacy Bundle, which although not a lifetime subscription, offers a substantial quantity of game content and bonuses at a substantially discounted price. Here is a breakdown of what is on offer.
I wrote recently about how I wished that lifetime subscriptions were still available for the MMORPG, The Lord of the Rings Online. I explored the value of such deals and concluded that the ongoing revival of the game, especially with regard to the launch of the progression Legendary Servers, presented the developers with the perfect opportunity to offer something similar to new players. Oddly enough, Standing Stone Games have just announced the LOTRO Legacy Bundle, which although not a lifetime subscription, offers a substantial quantity of game content and bonuses at a substantially discounted price. Here is a breakdown of what is on offer.
One Year of VIP Access Time
Get all the perks of being a VIP like 500 LOTRO points every month, mobile mailbox access, all character trait slots, and no 5g currency cap!
All The Content For One Great Price
Get Quests, Instances, Raids, Deeds, and Regions that LOTRO has released as of December 31st, 2018, even quests from Expansions!
*Excludes expansion pre-order or bonus items, includes only Quests, Instances, Raids, Deeds.
A Gift For All Your Characters, Forever!
Get a Crystal of Remembrance for every character on your account! You'll also get a Crystal of Remembrance on every additional character you create on your account going forward.
Bonus Items
You'll also get one Legacy Package for the character of your choice. It includes tons of bonus items to help you through your adventures and enough housing writs to buy your own premium house with no upkeep fees! Upon redemption of your Legacy Bundle code, you will immediately receive your bonus items on the character you log in on.
Your Legacy Package (one per account) Includes:
250 Mithril Coins
Wallet
Riding Skill
5 vitality stat tome pickers
10 skill and slayer deed boosts
10 Reputation supply
A Fleet-Footed Goat
A Mount Picker (Steed of the White City, Steed of the Citadel Guard, Forest Elk, Snow-Beast Steed)
A Housing kit which includes:
20 Housing Writs
Bird Bath
Hedgehog House
Premium Ingredients Crates
Fish Pond
ALL House Crafting Items
Sleeping Cat
Bevy of Swans Ice Sculpture
Makeshift Mûmak
Hound Property Guard
Gondorian Supplier Horn
Quest Packs Include:
Mines of Moria* Quest Pack
Mirkwood* Quest Pack
Rise of Isengaurd* Quest Pack
Riders of Rohan* Quest Pack
Helm's Deep* Quest Pack
Mordor* Quest Pack
Eregion
Enedwaith
Angmar
Evendim
Forochel
Misty Mountains
Trollshaws
North Downs
Lothlorien
Great River
Wildermore
East Gondor
Central Gondor
West Gondor
Old Anórien
Far Anórien
March of the King
Battle of the Black Gate
Legacy of the Necromancer
Where Dragons Dwell
For further details visit https://www.lotro.com/en/LegacyBundle
Now it is abundantly clear that this is an offer that favours the new or returning player. If you already have a lifetime subscription, then this bundle doesn’t offer you much more than the LOTRO store extras. Lifetime subscribers already have permanent VIP status, and thus an indefinite monthly stipend of 500 LOTRO points, as well as continuous access to non-expansion quests. However, this bundle is good value to those who subscribe intermittently to the game and haven’t bought any of the expansion packs. For a player who has rolled a new alt, either on the Legendary Servers or any of the regular servers, this offers access to everything that exists in the game at present. Furthermore, after a year when the VIP subscription expires, all quest content will remains unlocked.
For a long-term player like myself, who has bought all previous expansions, this bundle is also quite enticing. I currently subscribe monthly to LOTRO at a cost of £8.99 per month. That’s £107.88 per year. I pay monthly because it suits me financially and allows me to stop paying when I’m not playing. I recently started a new alt that I intend to take to level cap. Hence the additional store items included in the bundle are eminently practical. The total price of $199, works out as £157 (rounded up). That covers my years subscription (at the price I would have paid for it) along with £50 worth of store goods, which I suspect would cost more than that if I bought them separately. Again, if I stop playing for a while and return at a later date when my VIP status has expired, I will not be locked out of any quest content, apart from material that is added after December 31st 2018.
Naturally one’s perspective on the $199 cost of the LOTRO Legacy Bundle, is determined by the state of your personal finances. However, with Christmas coming up, this bundle has great potential as a gift. I am certainly giving it serious consideration. For me it’s the next best thing to a lifetime subscription. Price wise, it’s also worth considering the following. If I bought premium additions of two newly released single player games, the cost would be broadly similar to the LOTRO Legacy Bundle. 2018 has been the years where I have bought several single player games that I have ultimately been disappointed with. LOTRO regardless of its age and specific flaws, is a known quantity and a tried and tested source of amusement, entertainment and social interaction. I therefore have until December 16th to make up my mind.
Caring for the Elderly: Part 6
Once again, I find myself writing about this subject in the hope that it will encourage others to reflect upon the nature of old age, illness and the consequences that arise from them. There is still a prevailing culture of not discussing and sometimes not even thinking about such matters, but both are an absolute certainty in everyone’s life. All too often people find themselves in extremely difficult situations brought about by such events and the difficulty and emotional trauma is increased due to there being no plan in place or provision to address matters. Therefore, I strongly advocate the following. Some may seem like very obvious points, but recent conversations I’ve had with other carers and people in similar situations, has shown that many people have not made even the most basic of provisions in this regard.
Once again, I find myself writing about this subject in the hope that it will encourage others to reflect upon the nature of old age, illness and the consequences that arise from them. There is still a prevailing culture of not discussing and sometimes not even thinking about such matters, but both are an absolute certainty in everyone’s life. All too often people find themselves in extremely difficult situations brought about by such events and the difficulty and emotional trauma is increased due to there being no plan in place or provision to address matters. Therefore, I strongly advocate the following. Some may seem like very obvious points, but recent conversations I’ve had with other carers and people in similar situations, has shown that many people have not made even the most basic of provisions in this regard.
Life insurance: There are a broad range of policies available and it really comes down to what you can afford and what you wish to achieve. You may wish to consider cover that pays during prolonged periods of illness or simply a policy that cover the expense of a funeral. It doesn’t have to be a complex or daunting process. Having life insurance in place affords you piece of mind that your loved ones will not be financially troubled if illness or death occur.
Last Will and Testament: Ensuring that you have a will is also a source of peace of mind. It ensures that your assets and property are smoothly transferred to those you choose and that your funeral arrangements are clear in advance. For most people it does not have to be a complex process and often a simple standard document will suffice. The absence of such a provision can lead to additional administrative and legal issues at a time when they are least needed.
Living Wills and Care Plans: I wrote in my previous post about DNR notices and again would like to highlight the importance of discussing in advance the long term wishes of the person you care for. Clear and honest communication are paramount, and it is counterproductive to shy away from such issues because it makes you feel awkward or sad. Everyone has their own unique view on what is acceptable and what is not when it comes to the quality of their own life. Therefore, it is practical to consider and plan for certain eventualities, regardless of whether they are imminent or not.
Another matter it is wise to consider in advance is the general increase in household expenditure that can occur as a result of getting old and infirm. Carers, medical supplies, house alterations and minor changes to one’s lifestyle all contribute to increased monthly spending. In the UK, there are benefits and allowances available to help with such costs, but they are often means tested. Sometimes families prefer to take control of such services themselves and make their own financial arrangements. In my father’s case, not only does he choose to employ a very specific care company to assist him twice a day, he also spends additional funds on disposable items such as batteries, kitchen towel and incontinence pants. All of which have a cost that adds to the monthly budget. Furthermore, my parent’s household produces a lot more domestic waste than the average home. They quickly found that the standard refuse bin was not adequate for their needs, so we had to apply for an additional one from the local authority.
Modern day life is very much focused on living in the moment. As a result, long term decisions are often overlooked or simply ignored. When you’re twenty-five or thirty, seventy is an abstraction and not something that you necessarily concern yourself with. Furthermore, those who are not in the highest paid jobs do not always have the luxury of saving or spending on long term schemes such as insurance policies. There are more pressing needs to deal and the future may not be one of them. However, it is folly to ignore the inevitable and addressing just some of these issues now is better than ignoring them completely. The internet can often shed light on schemes and payment plans that you may not know about. In fact, it is an area of some considerable growth. There are also a wealth of charities and trusts that can help you if you find yourself in a difficult position. Therefore, once again I would urge readers to look to their future and not to be caught out at a time when you least need additional problems and concerns.
LOTRO: Choosing a Skirmish Soldier
I’ve always enjoyed the skirmish system since it was introduced into LOTRO in late 2009 with the Siege of Mirkwood expansion. These one to twelve-person instances are designed to provide a short and targeted fix of combat, with linear objectives and a climatic boss fight. What makes them different from standard instances within the game, is that you have an AI companion or skirmish soldier. It is this facet of the game that lends itself to tactical variation, as you get to choose which variety of skirmish soldier best compliments your class and play style. As ever with LOTRO, there is not a single optimal choice to make and if you ask a hundred players what the best role is, you’ll get a hundred different answers. The other practical benefit of the skirmish system is that they provide an alternative means of levelling, outside of PVE questing.
I’ve always enjoyed the skirmish system since it was introduced into LOTRO in late 2009 with the Siege of Mirkwood expansion. These one to twelve-person instances are designed to provide a short and targeted fix of combat, with linear objectives and a climatic boss fight. What makes them different from standard instances within the game, is that you have an AI companion or skirmish soldier. It is this facet of the game that lends itself to tactical variation, as you get to choose which variety of skirmish soldier best compliments your class and play style. As ever with LOTRO, there is not a single optimal choice to make and if you ask a hundred players what the best role is, you’ll get a hundred different answers. The other practical benefit of the skirmish system is that they provide an alternative means of levelling, outside of PVE questing.
Skirmish soldiers broadly reflect the roles of the main classes in LOTRO, as you can see from the above matrix. The idea is to choose one that provides skills that your primary alt does not directly have. Often players of all classes opt for the Herbalist simply to provide themselves with additional healing. Similarly, a DPS skirmish soldier such as a Warrior is also a solid, all-round choice. However, as my new character is a Guardian and can maintain threat, I thought it may be useful to have an Archer providing ranged DPS. The idea is to round up the mobs and have the Archer pick off them off while I hold aggro. I was also toying with choosing a Sage or Bannerguard, for their ranged debuff and buff abilities. But I’m not sufficiently knowledgeable of this sort of play style so eventually opted for the Archer. So far, it is proving to be an effective choice, but skirmishes at this level (24) are fairly straight forward.
Having re-rolled my Guardian on Laurelin (I now use the Legendary Servers as a “try before you buy” environment), I have access to my shared barter wallet and an ample supply of skirmish marks. Hence my Archer is relatively over powered at present, which is how I like things. If at higher levels, the Archer proves to be less effective, I have the option of slotting a different role and changing to another play style. Then of course there is the entire issue of running group skirmishes where an eclectic array of soldiers can lead to a very “interesting” experience. Because, despite both the statistical and cosmetic customisations that can be made to a skirmish soldier, they are still a somewhat blunt tool in combat. On occasions they can be used to great effect but more often than not they are chaotic and random. But in an odd way, this is part of their appeal. The other major choice a player is confronted with when equipping a skirmish soldier is exactly what to name them, but such matters are an entirely separate blog post.
Attack the Block (2011)
A lot was written about Joe Cornish's Attack the Block upon its release back in May 2011. I'll let you know right now that I have no intention of contradicting the popular consensus. This is an innovative, thoughtful, violent and very British Sci-Fi horror film. The contemporary inner London setting, and urban protagonists provide a very interesting take on a tried and tested subject. Do not be misled by certain journalists who try to make political capital out of claiming that the film endorses hoodie culture. It does not. There is no validation or glamorisation of that kind present. It’s simply an alternative setting for a somewhat formulaic story. As ever the devil is in the detail, which is subsequently supplied in the screenplay.
A lot was written about Joe Cornish's Attack the Block upon its release back in May 2011. I'll let you know right now that I have no intention of contradicting the popular consensus. This is an innovative, thoughtful, violent and very British Sci-Fi horror film. The contemporary inner London setting, and urban protagonists provide a very interesting take on a tried and tested subject. Do not be misled by certain journalists who try to make political capital out of claiming that the film endorses hoodie culture. It does not. There is no validation or glamorisation of that kind present. It’s simply an alternative setting for a somewhat formulaic story. As ever the devil is in the detail, which is subsequently supplied in the screenplay.
Sam (Jodie Whittaker), an overworked, underpaid nurse is returning home from her shift, while talking to her mum on her phone. She finds herself surrounded by a gang of five teenagers, led by Moses (John Boyega). As they demand her valuables, something falls from the sky and crashes into a nearby car. In the ensuing mayhem, Sam escapes while Moses and his crew find themselves at odds with an unexpected visitor. Everyone takes refuge in the tower block in which they live, as more extraterrestrial visitors continue to fall to earth. A siege begins, and the residents of Wyndham Tower have to band together to deal with the threat. Moses and his gang are motivated by the financial gain that the aliens may offer, but it soon becomes clear that it is them who are primarily being targeted by the visitors.
Cornish clearly shows his love for the genre in virtually every aspect of the production. From the lighting of the tower blocks to the bio-luminescent teeth of the aliens, all clearly demonstrate the influence of eighties cinema that the director grew up on. The script finds a comfortable balance between humour and action with the group of young residents spouting copious amounts of comic, patois-based dialogue. This has become the new benchmark in cult quotable sound bites, among discerning movie nerds. The pace of the narrative is strong and the set pieces hard edged. Attack the Block also maintains that very clinical feel that you often find in the best of British urban dramas.
It is very reassuring to see that films such as this are still being made and are directly competing against the ongoing tide of Hollywood blockbusters. UK film makers can effectively turn their hands to anything but are all too often only associated with period costume dramas or worthy slice of life, social comedies. Attack the Block and the action film Hanna (both released in 2011) have helped contribute to a greater diversification of British film making and have helped alter perceptions. As for Joe Cornish, he has clearly shown his abilities and set a high standard. I look forward to his next project. In the meantime, see Attack the Block, preferably twice. Once to enjoy it, then again to clock all the references. Wyndham Tower indeed.
LOTRO: Crafting
It’s only taken a decade. Yes, I’ve finally decided to start crafting in LOTRO, mainly out of necessity. After the “debate” on the recent podcast as to whether to continue to invest time and energy into my alt on the Legendary Server, I decided to recreate my High Elf Guardian on Laurelin. The main advantage being having access to my account-wide barter wallet and its respective resources. However, unlike the healthy economy of the Legendary Servers, established servers such as Laurelin have a distinct lack of armour, weapons and jewellery for lower level characters available on Auction House. As I like to play any MMO as over powered as possible, I decided to start crafting to ensure that my Guardian is optimally equipped for the progression ahead. Now I’ve always been told about the highs and lows of crafting in LOTRO, but it has certainly been interesting to finally experience them after all this time.
It’s only taken a decade. Yes, I’ve finally decided to start crafting in LOTRO, mainly out of necessity. After the “debate” on the recent podcast as to whether to continue to invest time and energy into my alt on the Legendary Server, I decided to recreate my High Elf Guardian on Laurelin. The main advantage being having access to my account-wide barter wallet and its respective resources. However, unlike the healthy economy of the Legendary Servers, established servers such as Laurelin have a distinct lack of armour, weapons and jewellery for lower level characters available on Auction House. As I like to play any MMO as over powered as possible, I decided to start crafting to ensure that my Guardian is optimally equipped for the progression ahead. Now I’ve always been told about the highs and lows of crafting in LOTRO, but it has certainly been interesting to finally experience them after all this time.
First off there’s the “fun” of gathering resources. Well it immediately struck me that the sensible thing to do was to use my level 120 Lore-master for this chore. They can freely move around low level zones without the being incommoded by the local population, plus I have the benefit of +78% mounts run speed. I then did the requisite research to find which zones I needed to go to and farm the necessary ore. Needless to say, Google is your friend in this matter and I quickly found maps that marked the locations of all the nodes. Within 75 minutes, after making several circuits of the area, I had sufficient for my needs. It was interesting to note that I didn’t encounter any other players in The North Downs while I did this. All gathered resources where then dumped into shared storage.
Next, the “fun and games” really started as I logged into my Guardian and trudged through the various professions and slowly advanced them. Having chosen the practical Vocation of an Armoursmith, I had to refine the ore into ingots via Prospecting. Naturally making such ingots gains crafting experience and once you have obtained sufficient, it unlocks the next tier. This is important because you cannot go out and farm the next tier of ore until you have done this. It took about an hour to unlock the first three levels; Apprentice, Journeyman and Expert. By then I could process Rich Iron Ore which was the material I required to craft armour at a level appropriate for my alt. I then started processing the various ingots I had amassed into standard Heavy Armour (no additional recipe required). Again, you have to unlock each tier to progress to the next, which means you have to craft a lot more armour than you need. Since there is no market for it on server, I simply sold it to a vendor afterwards.
Crafting is an odd facet of LOTRO. Because of the age of the game, it is suitably esoteric, time consuming and frankly tedious. However, crafting provides experience gain not only in your chosen profession, but also with respect your progression to level cap. Hence, I gained two entire levels while crafting and hit 20 as I finished (and was also rewarded with the “Undying” title as a bonus). I ended up with a full set of Elven Steel Armour which has an item level of 24 but can be used from level 22, so for the present I cannot use this set. However, despite this minor inconvenience I did derive immense satisfaction in crafting this set and knowing that I don’t have to rely on random drops or quest rewards for the immediate future. I also made an additional set of armour for a friend who has an alt at a comparable level, which was also pleasing to do. Such is nature of crafting in LOTRO. It’s a necessary evil and a pain in the butt, yet it also provides an odd sense of achievement. Something that other players have known for a decade and I just found out, yesterday.
Top Tip: The Universal Toolkit is essential. Without it crafting becomes even more tedious and annoying.
Writing Film Reviews
"You’ve probably gone over it before, but I’d like a refresher for how you go about choosing the movies you watch - I’ve got Netflix and Amazon Prime, but your titles always seem to go all over the place. Did you ransack a Blockbuster Video before it went bankrupt?" Rambling Redshirt. I was asked the above question recently, via Discord chat, because I do appear to post a rather eclectic range of film reviews. So, I thought I’d clarify my respective process (or lack thereof) as to which movies I choose to write about. I’d also like to share my thoughts on what I consider constitutes a good film review and the procedure I use when writing about the films I’ve watched.
"You’ve probably gone over it before, but I’d like a refresher for how you go about choosing the movies you watch - I’ve got Netflix and Amazon Prime, but your titles always seem to go all over the place. Did you ransack a Blockbuster Video before it went bankrupt?" Rambling Redshirt. I was asked the above question recently, via Discord chat, because I do appear to post a rather eclectic range of film reviews. So, I thought I’d clarify my respective process (or lack thereof) as to which movies I choose to write about. I’d also like to share my thoughts on what I consider constitutes a good film review and the procedure I use when writing about the films I’ve watched.
First off, here’s a little background about my relationship with cinema. Both my parent grew up during the thirties and forties when the primary form of entertainment were films and radio. Hence when I was a child, watching movies together was a common family activity. Mainstream network channels showed a lot more movies during the seventies, where now they’ve been replaced with property, cooking and quiz shows. Satellite and cable options did not exist in the UK at the time and there were just three analogue terrestrial channels. Sunday afternoon was a day where there’d be a movie scheduled on BBC Two mid-afternoon. We’d have our Sunday roast and then settle down to watch the likes of The Mark of Zorro or Top Hat or The Dam Busters. As these were my most formative years, my passion for film was kindled. This was how I was introduced to the works of Ray Harryhausen, George Pal and Hammer Horror.
As a carer, I now have a fixed schedule which although busy, provides me with periods of time that I can use to pursue my interests. Thus, during a week, I will watch about three or four movies. Because I don’t go to the cinema so often these days, some of these will be recent releases, especially now that the gap between the theatrical and video-on-demand release is as little as two months. I also have a “watch list” that contains both old and new films, that regularly has new titles added to it. These will be recommendations from critics or genre classics that I want to familiarise myself with. I often re-visit films I’ve previously seen for a re-evaluation, especially if it has recently been “dissected” on any of the film related vlogs and podcasts that I subscribe to. However, there is not a great deal of rhyme or reason to the order in which these movies are watched. All can potentially be written about.
I do not consider myself a casual watcher of films. I believe film making to be an art form and I can find merit in all genres. Many people see films as disposable entertainment. Something you passively observe and then move on from. That’s fine. You do whatever is good for you. I however, watch, analyse and reflect. I like dialogue and the way it’s written. I focus and consider the composition of shots and the construction of scenes. Lighting, production design and style are all important to my enjoyment. I can also remember details and visualise how scenes played out, after I have watched a film. As I have this level of interest, I naturally read and seek out data about film stars, film makers and movie production. If you like sports you will often become knowledgeable on the subject, especially stats. I do the exactly the same with films. Why? Because they bring me pleasure, they tell stories and they entertain. And this passion drives me to write about them.
Moving on, here are the rules that I broadly try to apply when writing about a movie. Just for the record, I often sit on the sofa with a pen and notebook in hand to write my thoughts down as they occur to me. This can be a little confusing to anyone watching with me.
1). Be sure to establish the genre of the film in question. Is it a comedy, a drama, a horror? If so, judge the film within the confines of said genre. Don’t make the mistake of comparing apples to oranges. All movies require a degree of “suspension of disbelief”. You have to vary this according to what you are watching. A drama such as On the Waterfront does not need to be watched with the same objective removal from reality as Dog Soldiers.
2). Consider all aspects of filmmaking when writing your review. Reflect upon directing, writing, editing, acting and other aspects of the production. Did they contribute positively or negatively to your experience? Where they of note contextually? IE with regard to the budget of the movie. If you have points you wish to highlight, then give specific examples in your review.
3). Imagine that your readers know nothing about the film in advance. It’s your job to introduce it to them and to provide them with a succinct and salient summary. How would you describe the film to a friend in one sentence? That may not always be possible with movies like Cloud Atlas but strive to be concise. Also do your best to avoid spoilers. If there is a dramatic event that serves as a surprise, don’t reveal this in your review. Provide enough information to intrigue readers so that they can choose to watch the film if they see fit.
4). When summarising your overall experience, think about who would enjoy this film, what its appeal is and in what circumstances. It helps to contextualise this, so if possible, why not make a broadly equivalent film comparison. IE Under Siege is Die Hard on a ship. Watership Down is essentially The Wild Bunch but with Rabbits. Any movie with Ben Stiller, is like a good comedy but with all the humour, talent and enjoyment conspicuously absent.
Finally, I’d like to finish with a quote from top UK movie critic Mark Kermode. Here are his top five ingredients for a proper film review, taken from his book The Good, The Bad & The Multiplex. Needless to say, I think he’s spot on.
“Opinion, description, contextualisation, analysis and entertainment.
1. Opinion
Saw 3D is rubbish.
2. Opinion and description
Saw 3D is a horror film that is rubbish.
3. Opinion, description and contextualisation
Saw 3D is the seventh episode and the first stereoscopic instalment in a long-running horror series, and it is rubbish.
4. Opinion, description, contextualisation and analysis
Saw 3D is the first instalment in a series that began life as a tortuously inventive low-budget chiller but which has descended over the course of six sequels into gory, boring torture porn which is rubbish.
5. Opinion, description, contextualisation, analysis and entertainment
It took the once-inventive but increasingly depressing Saw series seven movies to resort to the hackneyed headache of 3-D, but despite the promise that this is ‘The Final Chapter’ (just wait till the sums say otherwise) you keep wishing those protruding spikes would leap a little further out of the screen and puncture your eyeballs to ensure that you never have to watch rubbish like this ever again”.
The Raid 2 (2014)
It is very difficult to write about The Raid 2 without descending into hyperbole or gushing like a fanboy. As the movie poster shows, the popular press used pretty much every cliché available on the film’s release in 2014. If I remember, they did this previously with the original movie, The Raid in 2011. I may have leaned towards such enthusiasm myself when reviewing the previous movie. One thing that can be said about The Raid 2 is that it's a game changer and a genre milestone. It is more than just an action movie, in the same way that Enter the Dragon is more than just a martial arts movie and Singin' in the Rain is more than just a musical. Director Gareth Evans has stepped beyond the traditionally narrow scope of the genre to produce something far more ambitious.
It is very difficult to write about The Raid 2 without descending into hyperbole or gushing like a fanboy. As the movie poster shows, the popular press used pretty much every cliché available on the film’s release in 2014. If I remember, they did this previously with the original movie, The Raid in 2011. I may have leaned towards such enthusiasm myself when reviewing the previous movie. One thing that can be said about The Raid 2 is that it's a game changer and a genre milestone. It is more than just an action movie, in the same way that Enter the Dragon is more than just a martial arts movie and Singin' in the Rain is more than just a musical. Director Gareth Evans has stepped beyond the traditionally narrow scope of the genre to produce something far more ambitious.
The Raid 2 exceeds the claustrophobic confines of its predecessor and offers a far more ambitious plot. Following two hours after the siege on Boss Tama’s tower block complex (as seen in the first film), cop Rama (Iko Uwais) is asked to go undercover in a maximum-security prison so he can infiltrate a Jakarta crime syndicate. Rama manages to penetrate the inner circle of Ucok (Arifin Putra), the son of crime boss Bangun (Tio Pakusodewo). When rival gang leader Bejo (Alex Abbad) instigates a turf war for the streets of Jakarta, Rama quickly finds that all may not be as it seems, both in prison and within the ranks of his own police department.
The Raid 2 has a running time of two and a half hours, but it does not out stay its welcome despite its length. It manages to keep the narrative moving forward and switches seamlessly from action scene to occasional exposition. It is clear that director Evans has been influenced by the works of Akira Kurosawa, Park Chan-wook, Takeshi Kitano and Alan Mak, both visually and thematically. There are clear homages to several genre classics; a mass fight in a prison yard that has turned to mud, the use as claw hammers as a weapon and the complex inner politics of the crime syndicate. The movie also excels with its cinematography, editing and choreography. The action is superbly framed and presented in such a way that allows the audience to enjoy the frenetic pace but still see exactly what is happening on screen.
The Raid 2 is not for the squeamish. It is a brutal and unflinching in its depiction of violence. Yet there is a poetical quality to the never-ending litany of broken limbs, stabbings and sundry mayhem. Edwards manages to succeed in making the violence both titillating and disturbing at once. The audience is never quite sure what is going to happen next. It is this element of unpredictability that works so well in the film favour. It’s a radical change in approach to the distinctly passive experience that contemporary mainstream action movies have become in the west. Four years on we have yet to see a third instalment of this franchise, which is a shame. There is still talk of a US remake of the original film, for those viewers that cannot cope with subtitles or a non-American cast. For viewers with broader cinematic taste, The Raid 2 is well worth seeking out and seeing in its original language, because it is a superior, stylish and honest product.
The Raid (2011)
I was not a big fan of Gareth Evans 2009 movie Merantau. Although it was an interesting showcase for Iko Uwais and Pencak Silat martial arts, the story had a ponderous narrative and was thirty minutes too long. The human drama seemed at odds with the action content. However, in early 2011 I started to hear positive things about his follow up movie The Raid. When I finally got to see the international version of the film the following year, I was summarily impressed. The Raid was the most entertaining, all out, kick you in the nuts action film I’d seen since Hard Boiled at that point. Every so often, a film comes along that breathes new life in to an ageing and tired genre. The Raid was exactly such a movie and it didn’t take long for people to take note.
I was not a big fan of Gareth Evans 2009 movie Merantau. Although it was an interesting showcase for Iko Uwais and Pencak Silat martial arts, the story had a ponderous narrative and was thirty minutes too long. The human drama seemed at odds with the action content. However, in early 2011 I started to hear positive things about his follow up movie The Raid. When I finally got to see the international version of the film the following year, I was summarily impressed. The Raid was the most entertaining, all out, kick you in the nuts action film I’d seen since Hard Boiled at that point. Every so often, a film comes along that breathes new life in to an ageing and tired genre. The Raid was exactly such a movie and it didn’t take long for people to take note.
Seven years on (and a sequel later) I recently watched this movie for a second time. Let it suffice to say it still boasts a formidable pedigree. It reaches high gear within minutes of starting and simply does not let up for its hundred-minute duration. It is atmospheric, mean and dirty with one of the highest bodycounts to running time ratios I’ve encountered. And it remains extremely hard hitting. If your forays into the action genre have been mainly PG-13, mainstream US fodder, then you’re in for a “great big fucking surprise” as Jack Watson said in The Wild Geese. This is a fast paced and frenetic movie with a hard edge. It’s violent slick and compelling. It’s lack of Hollywood gloss makes it gritty and a refreshing change from other western genre movies.
A group of elite SWAT style specialist cops launch a dawn raid on 30 floor tenement block that doubles as armed fortress for an evil local drugs baron. However, the textbook plan goes terribly wrong, leaving the forces of law and order decimated. The fire fights with automatic weapons give way to hand to hand combat as honest cop Rama (Iko Uwais) tries to keep the remainder of his team alive and carry out their mission. The Raid boast a grimy production design which is credible and atmospheric. The cinematography by Matt Flannery captures the rundown aesthetic of Jarkarta’s slums very well. Even when the mayhem becomes somewhat balletic, the down to earth setting keeps the viewer grounded. There are shades of Carpenter’s Assault on Precinct 13 in the narrative as well as nods to John Woo and Walter Hill. Director Gareth Evans balances tone, pacing and a feel for action sequences perfectly.
The Raid succeeds because it does not aim to high. There is a wealth of action and wall to wall mayhem. Blood flows freely, but the movie does not make the mistake of copying standard Hollywood output. We don’t have a hero who is bullet proof, blessed with limitless ammunition and can take down a plane with a single shot. We have a flawed hero, who bleeds. Of course, we have to suspend our sense of disbelief. But we do not have to seal it in a lead container and drop it into the ocean to be recovered at a later date. If you like old school action movies, then see The Raid. You won’t regret it. If only Hollywood would take note. Less is more in this case. Also using a talented director who knows what he’s doing, helps. Unfortunately, the US studios seem oblivious to what the fans want and still blithely continue churning out there “targeted products”.
Here is some further trivia on The Raid. The title of the movie was altered from The Raid to The Raid: Redemption in the United States because the production company SPC could not secure the rights to the title; this also allowed Gareth Evans to plan out future titles in the series. The US version also sports a different soundtrack. While the original film was still in production, in May 2011, Sony Pictures Worldwide Acquisitions acquired the distribution rights of the film for the U.S. and asked Mike Shinoda of Linkin Park and Joseph Trapanese to create a new score for U.S. release. The original score from the Indonesian version was composed by Aria Prayogi and Fajar Yuskemal, who worked with Evan's on his previous film, Merantau. This version can be found on the international DVD and Blu-ray release of the movie.
LOTRO: Resetting the Economy
If you go to the auction house on Laurelin server, you will see all the hallmarks of an established, long term playerbase that have multiple characters at level cap. IE Mainly nothing but high-end crafted items being sold at ridiculously high prices. MMO inflation is a weird thing. Naturally people who have played LOTRO for a long time have substantial reserves of in-game gold. Gold therefore is not an asset of value in itself per se. Yet due to peoples complicated relationship with money, be it real or virtual, there is still a propensity to hoard it and increase one’s reserves. Hence, relatively sought-after items tend to be posted for sale on auction house at grossly inflated prices. Now regardless of the reasons why this inflation happens, the net result is always the same. A skewed economy with increased prices at one end of the gear spectrum and a shortage of items at the other, because no one is crafting anything beyond what they need for their new alts.
If you go to the auction house on Laurelin server, you will see all the hallmarks of an established, long term playerbase that have multiple characters at level cap. IE Mainly nothing but high-end crafted items being sold at ridiculously high prices. MMO inflation is a weird thing. Naturally people who have played LOTRO for a long time have substantial reserves of in-game gold. Gold therefore is not an asset of value in itself per se. Yet due to peoples complicated relationship with money, be it real or virtual, there is still a propensity to hoard it and increase one’s reserves. Hence, relatively sought-after items tend to be posted for sale on auction house at grossly inflated prices. Now regardless of the reasons why this inflation happens, the net result is always the same. A skewed economy with increased prices at one end of the gear spectrum and a shortage of items at the other, because no one is crafting anything beyond what they need for their new alts.
However, the launch of the two new Legendary Servers on November 8th provided an interesting opportunity, economically speaking. Some resources, perks and benefits in LOTRO are account wide, such as cosmetic items associated with the purchase of expansion packs. However, gold, mithril coins and skirmish marks are all server bound and can only be shared between alts therein. Thus, no one came to Anor and Ithil with the advantage of previously earned wealth. As a result, it has done wonder for these servers’ economies. Players are having to craft all the items they need and sell the surplus. There is also a healthy trade in the resources that sustain crafting. Two weeks on from launch and the acquisition of gold is still a relatively balanced process. Subsequently, buying new gear is still a viable option beyond that which you earn through questing. There are also lots of new kinships which support the needs of their members. So far, the game economy is not derailed.
As ever, it will be very interesting to see if this balanced and broadly equitable situation continues over the month to come. Perhaps the release of further content in four-months’ time will alter the status quo. By then there will likely be a percentage of wealthy players at level cap, along with those who are doing “okay” and some who are neither at cap or have a proverbial “pot to piss in”. Such is the nature of MMOs and those who play them. The other thing to keep an eye out for on the new servers is the presence of gold farmers. As gold is not transferable between existing servers, it has to be earned from its current location. So far, there is not a sufficient surfeit of gold to be assimilated and “redistributed” by such third party “institutions”. This again main change when the Mines of Moria expansion is added to both legendary servers. In the meantime, I am already buying any potential bargains I find on auction house, not only for my primary alt’s current needs but for the future as well. It certainly is a pleasant change from the dearth of choice currently found on the older LOTRO servers.
Amazon Fire HD 10
I find that the key to successfully buying any new item of technology is to know in advance exactly what you want from it and setting yourself a realistic budget. The next step, which is detailed research, is the one that I struggle with. Because it always involves a particular foible of human nature that really sets my teeth on edge. Far too many reviewers and technology journalists don’t fully grasp the concept of budgets as well as the idea of committing to the item that they are writing about. IE I often encounter sentiments such as “the Gruntmeister 2000 is a good option, but if you spend a little bit more you can get the 3000 model”. It’s habit that infuriates me. A budget of £100 is exactly just that. No more, no less. Therefore, if a buyer has specified their financial limit then it is illogical, crass and frankly damned rude to mention products that fall outside of that price range. Oh, it makes me want to punch until there’s brain matter on the walls. However, now that we’ve got that out of the way, I managed to track down exactly the new tablet that I needed. Furthermore, I got a bargain as it’s “Black Friday”.
I find that the key to successfully buying any new item of technology is to know in advance exactly what you want from it and setting yourself a realistic budget. The next step, which is detailed research, is the one that I struggle with. Because it always involves a particular foible of human nature that really sets my teeth on edge. Far too many reviewers and technology journalists don’t fully grasp the concept of budgets as well as the idea of committing to the item that they are writing about. IE I often encounter sentiments such as “the Gruntmeister 2000 is a good option, but if you spend a little bit more you can get the 3000 model”. It’s habit that infuriates me. A budget of £100 is exactly just that. No more, no less. Therefore, if a buyer has specified their financial limit then it is illogical, crass and frankly damned rude to mention products that fall outside of that price range. Oh, it makes me want to punch until there’s brain matter on the walls. However, now that we’ve got that out of the way, I managed to track down exactly the new tablet that I needed. Furthermore, I got a bargain as it’s “Black Friday”.
I like to do specific tasks via specific devices. As my phone is constantly with me, I primarily use it to access emails, texts, WhatsApp and Twitter. My desktop PC is where I write, create and edit podcasts and play games. My tablet is mainly for the consumption of content, such as podcasts, e-books and reading comics. The form factor lends itself to comfortably sitting on the sofa, reading a good book. A decent case means it can sit on bathroom unit, while I soak in the bath and listen to one of my favourite shows. And of course, perusing a quality graphic novel on a 10-inch screen is definitely a good way to enjoy the medium. So, bearing all this in mind, I knew in advance that I didn’t need a top end Samsung tablet along with it’s accompanying price tag. It soon became apparent that the Amazon Fire HD 10 would cover all my needs and I am happy to confirm that it certainly does. Its total cost was £100, although I also bought the matching case which added a further £25 on the overall price.
To start with let’s get the “negative” points out of the way first. Samsung and Apple tablets always feel incredibly robust, solid and “good quality” when you handle them. The Amazon Fire HD 10 feels cheaper. That’s not to say fragile because it’s not. But it’s rudimentary plastic build is what it is. The Fire operating system is not pure Android but Amazon’s own customised build. This is optimised towards Amazon’s own eco-system and therefore excludes rival apps. However, it is far from difficult to sideload Google Play store and add those apps you desire. The camera is also below par, but as it’s not really what I bought the table tablet for, it seems irrelevant. Frankly does anyone buy a tablet for the camera? The Amazon Fire HD 10 plus points are by far more important. First off there’s a nice 1920 x 1080 display. Its is sharp bright and vibrant making it eminently suitable for watching movies and streaming content. Battery life is also robust offering 10 hours of “mixed” use. The MediaTek quad-core processor is combined with 2GB of RAM and performs well. Navigation is smooth and there’s no major lag when navigating the interface. And then there’s the price which is approximately a third of the latest iPad.
I bought the 32GB version of the Amazon Fire HD 10, which so far is adequate for my needs. If there are any issues, then I can make use of the microSD card slot which offers up to another 256GB of storage space. Contrary to what I expected I have not had to make too many changes to the UI. I have turned off some of the superfluous Amazon promotional features and have dragged the unnecessary icons into a single tidy folder. I quickly found simple instructions online as to how to install the various Google apps I needed. At present my tablet has both Netflix and Amazon Prime, along with Podcast Addict, You Tube and Challenger Comics Viewer. I have no immediate intention of bloating OS with additional services, although I’m sure it can easily accommodate them. I also like the simple but functional Amazon case that I bought. Overall, I am pleased with this purchase as it has totally met my expectations. Compared to the past where I used to jump in feet first with new tech and tended to be an early adopter, I now favour this more targeted and measured approach. If your tablet needs are equally as straight forward to mine, you too may find the Amazon Fire HD 10 to be the best option currently on the market.
Thoughts on Blogging Part 5
This week, a rather high profile sub-reddit associated with the Star Trek Online community, changed its status to “private” as a means of protesting against the state of the game and the way developers Cryptic are handling things. That matter was surprisingly resolved within 24 hours after an olive branch was extended from the STO community manager on reddit. However, it is not the protest itself nor the state of the game that I wish to focus upon, but the importance of /r/stobuilds as a shared community resource. A lot of STO players enjoy optimising their builds and tweaking their loadout and this site it the place to go to share such information. There is also a group of hardcore players that dig deep into the games data and comprehensively crunch number and generate useful information. Hence if a resource such as this was taken offline for longer period of time, it would have a tangible impact upon players and the wider community.
This week, a rather high profile sub-reddit associated with the Star Trek Online community, changed its status to “private” as a means of protesting against the state of the game and the way developers Cryptic are handling things. That matter was surprisingly resolved within 24 hours after an olive branch was extended from the STO community manager on reddit. However, it is not the protest itself nor the state of the game that I wish to focus upon, but the importance of /r/stobuilds as a shared community resource. A lot of STO players enjoy optimising their builds and tweaking their loadout and this site it the place to go to share such information. There is also a group of hardcore players that dig deep into the games data and comprehensively crunch number and generate useful information. Hence if a resource such as this was taken offline for longer period of time, it would have a tangible impact upon players and the wider community.
Now not every fansite, blog or player run resource are of a comparable size and significance, but I would cogently argue that they all contribute to their respective communities in essentially the same manner. They’re sharing information, enthusiasm and support for the things that they love and are entertaining and communicating with others. A fellow blogger who wrote a popular MMO fansite, once told me that they considered their writing as a public service in a way. I do not think the remark was a reflection of their vanity. It simply showed that they enjoyed participating in a wider community and sharing what they knew. However, they also remarked that once you find yourself in a position where your work becomes important to the wider community, you can become a “prisoner of your own success”. This then raises the spectre of “obligation” over writing for pleasure. If you’re creating guides for an MMO or data mining the latest patch, then you can end up in this position.
I have a plethora of websites and blogs, bookmarked in my web browser. Most are run by fans and despite the fact they are amateur publications, many are of an extremely high standard. In fact, they often put the professionals to shame. Such blogs are often done by sole individuals, busy couples or over stretched collectives who are passionate about their subject. A lot of people benefit from the hard work that they put in. The recent LOTRO renaissance has highlighted for me just how many great fan-based resources still exist, but it has also reminded me of how many blogs and podcast have retired of “faded” over the years. The absence of some are still sorely missed. Expressing yourself through written words is more labour intensive than producing content for other platforms. It is less ephemeral due to the thought and consideration that good writing takes. In some respects, the bloggers surrounding certain games are a microcosm of the of the wider community.
There’s been a lot of talk of late regarding preserving video games history. It is indeed an interesting proposition because it is in historical terms such a relatively recent phenomenon. However, if you wish to preserve games per se, as we currently do with other art forms such as movies, music and books, then surely preserving their associated impact on popular culture is equally as important? Fifty years from now when it can be safely assumed that World of Warcraft should have run its course, having access to the myriad of websites and fan resources that evolved around the MMO will be key to understanding the popularity of the game itself. Surely, such a concept logically extends to blogging around any aspect of popular culture? Naturally not every site or blog is destined to be of paramount historical importance, but all contribute in their own unique way to bigger community picture. Consider that next time you write, and it may help motivate you. Or it may do the opposite.
Hanna (2011)
Some people seem to draw parallels between Hanna and Mathew Vaughn’s Kick-Ass but the similarities are somewhat superficial. One is traditional, intelligent action thriller about a youthful female assassin. The other is a tongue-in-cheek neo-exploitation movie, involving a preteen vigilante. The more you compare them the greater the differences become. So, let us start by dismissing such erroneous comparisons.
Some people seem to draw parallels between Hanna and Mathew Vaughn’s Kick-Ass but the similarities are somewhat superficial. One is traditional, intelligent action thriller about a youthful female assassin. The other is a tongue-in-cheek neo-exploitation movie, involving a preteen vigilante. The more you compare them the greater the differences become. So, let us start by dismissing such erroneous comparisons.
One of the most compelling reason to see Hanna is Saoirse Ronan's performance, previously seen in Atonement and Peter Jackson’s The Lovely Bones. It is precise and utterly compelling. Another selling point is Joe Wright's tight and well measured direction. This is a real revelation as his previous works tend to be costume pieces or worthy human dramas. Yet he shows a real feel for the genre proving that some directors can successfully change verticals (unlike Marc Forster, who struggled to grasp the concept of a Bond movie, with Quantum of Solace).
The plot is a straight forward affair about an individual raised in isolation and subsequently discovering on contact with the real world, that they are “different”. There is the implication that Hanna is not only the product of her upbringing, by ex-assassin Eric Bana, but potentially the child of a genetic experiment. Once the initial premise has been established, the script is essentially a series of action sequences, shot in a very contemporary fashion (hence achieving its PG-13/12A rating). The story is neatly structured although formulaic, with a twist ending that really isn't that much of a revalation.
Yet director Joe Wright manages to expand the story's subtext, providing more rounded characters than you would expect in a genre piece such as this. Cate Blanchett and Tom Hollander, provide superior performances as the films antagonists. The score by the Chemical brothers is another innovative aspect that should be applauded. Soundtracks in the action movies are so often perfunctory, these days. Hanna overall is pure escapism but is elevated above the mundane by the significant talent of Joe Wright. Let us hope that he continues to experiment with different genres.
The Tractate Middoth (2013)
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The Tractate Middoth relocates the events of the story from the Edwardian era, to the early Fifties but apart from this change the production remains remarkably faithful to the text. We meet young librarian Mr. Garnett (Sacha Dhawan) who has a rather disturbing experience while searching for an old tome of Hebrew text for an irascible academic John Eldred (John Castle). It would appear that a mysterious third part may have an interest in the book. While recovering from his shock, with a dose of country air, Mr. Garnett meets Mrs. Simpson (Louise Jameson) and her daughter Anne (Charlie Clemmow). They tell a strange tale of a missing last will and testament that would make them heir to a sizeable inheritance. Unfortunately, the document has been written in an obscure book. Could it be the very same volume that lead to Mr. Garnett's supernatural experience?
This delightful adaptation blends the erudition and macabre atmosphere of M R James with the wit and intelligence of Mark Gatiss. The two complement each other very well. M R James's liking for comedic minor officials and bureaucrats is embellished by Mark Gatiss, leading to some clever observational humour and comic asides. However, this is not done to the detriment of the brooding atmosphere or the central supernatural plot. The thirty-minute adaptation has a minimum of superfluous CGI, keeping as much effects work as possible in-camera, thanks to the stylish cinematography of Steve Lawes. The prosthetics for the central ghost are suitably ghoulish and very much in accord with the original story.
The period feel is authentic and still maintains M R James cardinal rule that a good ghost story should always be set in the past and related by those who have indirectly experienced it. Performances are universally good ensuring that characters do not descend in to genre caricatures. The handsome production design and art direction reflect the architectural and topographical detail that is synonymous with all of James's short stories. It is to the director’s credit that the supernatural climax is effectively carried out in broad daylight without losing any dramatic impact. The final sting in the tail, although a whim of Mark Gatiss, is far from out-of-place.
As with the BBC adaptations from the seventies, this latest production has a distinguished pedigree, sporting such names as Una Stubbs, Eleanor Bron and John Castle. There is also a clear sense that everyone involved has a love and respect for the work of Montague Rhodes James. The Tractate Middoth is text-book example of the sort of quality television that can be produced when the right people are involved and deferred to. Mark Gatiss has spoken of the freedom afford to him by the BBC Arts Department and it is clear that their trust in him has paid off. The Tractate Middoth, is well paced and lovingly crafted, delightfully unsettling. There are several jolts leading to a classic Jamesian Wallop (Thank you Will Ross and Mike Taylor for coining that phrase).
