A Year in Movies
Throughout my adult life I have always gone to the cinema as a leisure activity. 2018 has been of note in this regard as it’s the year I’ve been to the cinema the least. I have visited my local multiplex just three times over the last twelve months. It’s not that good quality movies are not made anymore. Far from it. It’s just that they don’t always get released theatrically. Furthermore, the cost to entertainment ratio has simply become too much of a gamble. Standard tickets are priced between £12 to £15 locally and I resent such an outlay for a film that may only be adequate or worse. Perhaps my outlook on pricing is unreasonable but I am not going to pay such money for mediocre entertainment. I don’t expect every movie I see to be a cinematic milestone or genre classic but nor do I expect it to be an exercise in indifference. If I had paid such ticket prices to see The Predator or Death Wish at my local Cineworld, then I would have been singularly annoyed. Mercifully I saw them both at home and therefore at a much lower cost.
Throughout my adult life I have always gone to the cinema as a leisure activity. 2018 has been of note in this regard as it’s the year I’ve been to the cinema the least. I have visited my local multiplex just three times over the last twelve months. It’s not that good quality movies are not made anymore. Far from it. It’s just that they don’t always get released theatrically. Furthermore, the cost to entertainment ratio has simply become too much of a gamble. Standard tickets are priced between £12 to £15 locally and I resent such an outlay for a film that may only be adequate or worse. Perhaps my outlook on pricing is unreasonable but I am not going to pay such money for mediocre entertainment. I don’t expect every movie I see to be a cinematic milestone or genre classic but nor do I expect it to be an exercise in indifference. If I had paid such ticket prices to see The Predator or Death Wish at my local Cineworld, then I would have been singularly annoyed. Mercifully I saw them both at home and therefore at a much lower cost.
2018 has been another year of ongoing change for the movie industry. Netflix continues to release films from established directors that have been made exclusively for their own platform. Two of these of note were Mute directed Duncan Jones and Outlaw King by David Mackenzie. Some of these movies had nominal theatrical releases to raise their profile or possibly to meet the criteria for the various cinematic awards that are bestowed in spring 2019. Just prior to Christmas Netflix released Bird Box directed by Susanne Bier. Apparently, the video on demand service offers very lucrative terms to directors and a degree of creative freedom that is not always available when working with traditional film studios. There is also a more measured and open-minded approach to ideas from Netflix, allowing film makers to pursue more bespoke and niche market products.
Netflix has also become a convenient outlet for studios that have films that they wish to "offload" or have lost commercial faith in. For example, Alex Garland's Annihilation received a limited US release which generated low box office returns. Hence the film was then sold to Netflix rather than released theatrically to the rest of the world. Warner Bros. also sold Mowgli: Legend of the Jungle straight to Netflix, bypassing any kind of theatrical release. Make of that what you will. There also continues to be an ongoing debate about whether Netflix movie needs to have a cinema release to be able to compete with commercially released movies for awards. Such arguments are often driven by passions, adherence to established culture and dare I say a little snobbery. Whatever side of the debate you are on, the way we consume movies is changing and the day of the simultaneous cross platform release is not far off.
Mainstream cinema continued to be dominated by big budget, CGI driven spectacles in 2018. Such movies are frequently filled with action but often woefully lacking in plot, in-depth characters and dramatic impact. The Meg was one of the few examples of a big dumb movie that was fun. Sadly, Skyscraper was just a movie that was big and very, very stupid. Not even Dwayne Johnson’s charisma could save this one. Jurassic World: Fallen Kingdom offered the viewing public yet more dinosaurs and during its second act a distinctly gothic take. Steven Spielberg’s Ready Player One adaptation was a mixed bag which struggled to make it’s mark under the weight of its myriad pop culture references and homages. The Marvel Cinematic Universe lumbered on at the box office with Black Panther and Avengers: Infinity War finding both critical and commercial success. Sadly, my interest in this genre expired several years ago
2018 was certainly a good year for horror movies. Some ill-informed journalists proclaimed that the genre was back, overlooking the fact that movies of this ilk have been cleaning up at the box office habitually for the last two decades. There was a lot of buzz and hyperbole over Hereditary. It is a good movie but far from the genre milestone that some have claimed. A Quiet Place proved to be a solid all-round hit with robust central performances from Emily Blunt and John Krasinski (who also wrote and directed the movie). Unfriended: The Dark Web took the “screen life” genre further forward, proving it to be an interesting medium if intelligently done. However, like the “found footage” format, it may quickly suffer from fatigue if utilised too often. Two other notable horror movies released in 2018 were Halloween and Ghost Stories. The former being a direct sequel to John Carpenter’s original movie and the latter being a film adaptation of Andy Nyman and Jeremy Dyson's stage play. Both were well made, skilfully executed and entertaining.
The traditional action genre was not so well represented in 2018. Major studios remain ambivalent towards ratings higher than PG-13. Hence, The Commuter, a mystery thriller set on a train, focused more upon the convoluted plot rather than violence. It’s all a bit silly and farfetched but broadly saved by his towering presence and soft Irish tones of Liam Neeson. The latest Tomb Raider adaptation starring Alicia Vikander did not find favour with the critics. However, it was competently made and captured the tone of the rebooted games well. Its biggest flaw was not doing anything with its main villain played by Walton Goggins but it had a lot more style and depth than your average super hero movie with which it was competing. I was also greatly surprised by the critical indifference that met The Equalizer 2. It was a well written sequel that still focused on the character of Robert McCall (Denzel Washington) and his struggles. The acting was top notch and there were some finely crafted visceral action scenes. Seldom does the action genre get this cerebral.
I watched the lion’s share of the movies I saw in 2018 at home. It’s something that I have grown use to now and I only like going to the cinema these days if it is at the British Film Institute or somewhere similar. In these instances, the audience are dedicated film fans and thus well behaved throughout the proceedings. I have also grown use to watching movies in 1080p and am somewhat discombobulated when I find myself having to watch a film in standard definition out of necessity. 2019 is also likely to be the year that our household upgrades to 4K, which means replacing the existing TV and Blu-ray player. It will also be interesting to see if the gap between theatrical and home media/VOD release dates get’s any shorter. It currently appears to be between two and three months. As mentioned earlier I believe simultaneous release across all platforms will not be far off. One thing I’m certain off, there will still be plenty of quality films released in 2019. It’s just that the discerning viewer will have to look across an increasing spectrum of platforms to find them.
A Year in Social Media
The term social media is a broad church. For me it primarily means Twitter as that is the only platform of that ilk that I use regularly. I maintain a presence on Facebook simply to stay in touch with friends who have emigrated to the US. We have a private page where we catch up instead of using the traditional medium of emails. It is more immediate but also more frivolous. If it weren’t for need that it serves, I would have long closed my Facebook account. 2018 was also the year where I tried to continue using Instagram but failed. I don’t tend to catalogue and display my life in the manner that this medium tends to demand and use it mainly to see what my granddaughters have been up to. For me Twitter is the social media platform I feel most comfortable using and feel that I have mastered. I use it to promote my writing and for quips, banter and social interaction. Beyond that I think its benefits are both limited and even questionable.
The term social media is a broad church. For me it primarily means Twitter as that is the only platform of that ilk that I use regularly. I maintain a presence on Facebook simply to stay in touch with friends who have emigrated to the US. We have a private page where we catch up instead of using the traditional medium of emails. It is more immediate but also more frivolous. If it weren’t for need that it serves, I would have long closed my Facebook account. 2018 was also the year where I tried to continue using Instagram but failed. I don’t tend to catalogue and display my life in the manner that this medium tends to demand and use it mainly to see what my granddaughters have been up to. For me Twitter is the social media platform I feel most comfortable using and feel that I have mastered. I use it to promote my writing and for quips, banter and social interaction. Beyond that I think its benefits are both limited and even questionable.
Initially I thought that having a large Twitter following would be invaluable for promoting my writing and podcast. Ten years later I have definitively concluded that it is not so. Yes, I do generate traffic from my tweets but it’s less than a quarter of all visits to my blog. You also very quickly learn that informed debate is also an impossibility on this platform. Muting specific keywords, blocking people and generally pruning the list of accounts that you follow is the key to happiness and success when using this Twitter. You are not obliged to debate and discuss with all and sundry who see fit to question you. Twitter is not a moderated, civilised arena for intellectual discussion. It is more akin to a hectoring at a sporting venue. Treat Twitter like your own front door. You don’t have to open it, especially if an itinerant asshole or professional malcontent is knocking.
On a more serious note, as you get older (or at least I find so), friends and colleagues tend to settle down, have families and do the “usual” things in life. Social circles therefore contract and alter. This is perfectly natural and nothing out of the ordinary. Over the last ten years, I have come to know a broad and diverse group of people via Twitter. They hail from all walks of life and from numerous countries. I greatly value their company and daily thoughts. I consider this to be the real benefit that Twitter brings, as the virtual company of my colleagues has often helped me through some bleak periods. The debate over the validity of online friendships still rages on but I genuinely believe that is can be just as important as those offline. I would happily meet up with all my Twitter chums and enjoy their company over a meal. Hopefully these positive benefits of social media will continue into 2019.
A Year in Technology
My relationship with technology has changed over the years and my enthusiasm has tempered greatly. Having worked in the IT field for 25 years (up until 2016), I have been immersed in technological advancement and due to my age have seen a great deal change. I was at one time an early adopter of anything I considered to be potentially beneficial to me and at times have been guilty of acquiring something “new and shiny” simply for its own sake. I have even flirted with that dubious notion of tech as a fashion accessory. But sometimes age does bring wisdom, so nowadays, I’m a firm believer in finding the sweet spot between “the right tool for the job” and “if it isn’t broke, don’t fix it”. Subsequently, 2018 has not seem me acquire a great deal of new technology. However, what I have bought this year or started using has been well received and useful.
My relationship with technology has changed over the years and my enthusiasm has tempered greatly. Having worked in the IT field for 25 years (up until 2016), I have been immersed in technological advancement and due to my age have seen a great deal change. I was at one time an early adopter of anything I considered to be potentially beneficial to me and at times have been guilty of acquiring something “new and shiny” simply for its own sake. I have even flirted with that dubious notion of tech as a fashion accessory. But sometimes age does bring wisdom, so nowadays, I’m a firm believer in finding the sweet spot between “the right tool for the job” and “if it isn’t broke, don’t fix it”. Subsequently, 2018 has not seem me acquire a great deal of new technology. However, what I have bought this year or started using has been well received and useful.
I managed to keep my ageing PC adequately performing for another 12 months, although I’m pretty sure that everything that can be improved, has been. This year I finally added an SSD as the existing hybrid drive just wasn’t cutting it. Naturally Windows 10 is now performing significantly better and has a much-improved boot up time. The clean installation I carried out has meant that a lot of games are no longer installed and those that are benefit from being on the SSD. At present this is just limited to LOTRO and STO. Assassin’s Creed: Odyssey, which I recently bought in a sale, has been placed on a secondary traditional hard drive due to its large size. This new game performs well but I cannot max out the settings, as I did with titles three or four years ago. I think 2019 will see me purchase a new PC but for the present my four-year-old system continues to serve well. However, that is mainly due to a memory upgrade, replacement graphics card and now solid-state drive.
I don’t know about you, but I get through a lot of keyboards and mice. I replace them both at least once a year and sometimes even twice. Keys tend to lose their markings and those that are used the most IE vowels, spacebar and backspace will become less responsive as their mechanism wears out. Similarly, I find that mice lose their left click quickly and that the perspiration from my hands eats through the plastic case. Both of these issues can be remedied by purchasing high quality replacements, but I tend to just buy a standard Microsoft keyboard from the supermarket along with whatever gaming mouse is being discounted. I bought a Trust CXT 105 mouse earlier this year which has the “added novelty” of changing colour. It does however have a fabric covered cable to prevent tangles which does appear to work quite well.
I recently wrote about buying a new tablet and how I eventually opted for the Fire HD 10. Some people don’t care for the device due to the pervasive way the Amazon ecosystem is integrated into the GUI. However, it has zero impact upon the consumption of content and I can read books, comics and watch videos in comfort and on a surprisingly good quality full HD 10-inch screen. 2018 also saw further improvements upon that other Amazon flagship products, the Echo. I originally purchased the first generation “smart speaker” back in November 2016. It continues to be regularly used in our household for news, music and internet enquiries as well as timers and alarms. This is also the third year I have been an Amazon Prime customer and once again, I have reaped the benefits of the subscription. I purchase not only for myself but for other members of my family. Subsequently I have a very eclectic purchasing history that often leads to some curious suggestions.
I acquired a new phone late in 2017 so have now had my Samsung Galaxy S8 over a year. I recently noticed some burn in on the screen so have moved icons and changed background to try and minimise any further problems of this kind. I have endeavoured to not be one of those people who is continuously on my smartphone and I’ve successfully imposed a set of rules to ensure that it is not used all the time, especially in social situations. I have removed a lot of superfluous apps this year focusing on those that seem to access my contacts and location for no valid reason. I have managed to not use Uber Eats excessively although it does make ordering unhealthy food on a whim and having it delivered to your door worryingly too easy. If they ever bring out a similar app for gin, then I may be doomed. The Taxi Card service that allows me to reliably book black cabs at a discounted rate for my disabled parents has been invaluable.
Technology is everywhere and permeates so many aspects of our lives. I order medical supplies for my father online and have an app on my phone that shows me what carers have visited him in the morning and evening and what actions they have taken with regard to his wellbeing. I can email my local pharmacist with prescription requests and have them delivered if required. The internet age certainly has benefits when managing my parents’ affairs. However, as a household we still choose to grocery shop at the actual supermarket, rather than shop exclusively online. And although apps, hardware and web-based services bring a great deal of convenience, they do not provide the social element that traditional face to face transactions bring. Therefore, I continue to try and maintain a healthy balance between the two. I also remain sceptical of so called “free” services that continue to harvest our personal data. Overall, I still think that my life has benefitted by the technology and services that it provides. It remains to be seen whether this equitable balance continues into 2019.
Classic Movie Themes: Hawk the Slayer
According to Wikipedia “Hawk the Slayer is a 1980 British sword and sorcery adventure film directed by Terry Marcel and starring John Terry and Jack Palance. The film has developed a cult following”. That doesn’t do the movie justice by any reckoning. Hawk the Slayer is a quirky, low budget, high camp fantasy movie that compensates for its budgetary shortcoming by being so preposterously silly. It is loaded with hard boiled, fantasy steeped dialogue that parodies well known genre tropes. It treads a fine line between utter bilge and stupid fun. It is very much a product of its time and is also filled with British character actors. Some viewers will see nothing more than a cheap and cheerful cash-in on the eighties Sword and Sorcery boom. Others will delight at this inventive, stylised and silly fantasy orientated outing. Such is the nature of cult movies.
According to Wikipedia “Hawk the Slayer is a 1980 British sword and sorcery adventure film directed by Terry Marcel and starring John Terry and Jack Palance. The film has developed a cult following”. That doesn’t do the movie justice by any reckoning. Hawk the Slayer is a quirky, low budget, high camp fantasy movie that compensates for its budgetary shortcoming by being so preposterously silly. It is loaded with hard boiled, fantasy steeped dialogue that parodies well known genre tropes. It treads a fine line between utter bilge and stupid fun. It is very much a product of its time and is also filled with British character actors. Some viewers will see nothing more than a cheap and cheerful cash-in on the eighties Sword and Sorcery boom. Others will delight at this inventive, stylised and silly fantasy orientated outing. Such is the nature of cult movies.
Harry Robertson (19 November 1932 – 17 January 1996) was a musician, bandleader, music director and composer. He worked as a musical director on British television shows throughout the fifties and sixties. He also composed and arranged the scores for various feature film, notably those of the Hammer production company during the late sixties and seventies (The Vampire Lovers, Lust for a Vampire and Countess Dracula). For Hawk the Slayer, Robertson chose to write a bright and modern score (within the idiom of the times), infusing a traditional orchestra heavy on strings and brass with synthesizers and electric guitar. There are plenty of nods to his own favourite composers such as Bernard Herrmann, Jerry Goldsmith, Quincy Jones, Ennio Morricone, and John Barry.
While the aesthetic of the film was to emulate Kurosawa in terms of camera angles and direction, Robertson considered the movie a Fantasy Western and wrote his score as such. He assigns the hero Hawk a signature motif not too dissimilar to The Man with No Name. There are several major themes used throughout the film to signify various characters. Like the movie itself, Robertson’s soundtrack will either delight or annoy. It a time reminds me of Jeff Wayne’s War of the Worlds in places. Here is the main title theme and central motif for the film. It is played as Hawk tracks down his various comrades and subsequently during various action scenes. It is a fun cue that encapsulates the inherent spirit of the film and channels a lot of eighties synth pop.
Jeff Wayne's Musical Version of The War of the Worlds
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
Now I'm sure this is something we've all experienced at various points in our life. Often, we are more bemused by the fact that such a thing has happened without our being aware of it, rather than the specifics of the change. Frequently the matter is compounded by the fact that we have a strong sentimental attachment to that which has been altered, rebooted, re-imagined or generally messed with. Furthermore, surprise discoveries of this nature cause short periods of discombobulation. This phenomenon happened to me again quite recently. An innocuous chain of events, led to a surprise discover followed by a sense of shock, then incredulity and a lenghty string of profanities.
So what happened exactly? Well I had just downloaded a free Kindle version of H.G Wells science fiction novel, War of the Worlds. It is a literary classic and a good read after all. Because I am a man of a certain age, I have fond memories of Jeff Waynes' progressive rock, musical concept album from 1978. The mixture of spoken world, music and song left a big impression on me at the age of eleven. So, naturally my train of thought led me over to You Tube to quickly listen to a track or two from the aforementioned seminal recording. I idly clicked on The Eve of the War, expecting to hear the smooth baritone voice of Richard Burton as he narrated the introduction. Instead I suddenly became aware that I was listening to a completely different but not unfamiliar actor. The soft melodic Irish tones were unmistakable. It was Liam Bloody Neeson!
After my initial shock, I did some research to determine what was exactly going on. I discovered that the entire album had been re-recorded in 2012 under the revised title, Jeff Wayne's Musical Version of The War of the Worlds – The New Generation. This new album features more contemporary artists. Gary Barlow has replaced Justin Heyword, Joss Stone is covering Julie Covington and Ricky Wilson has usurped David Essex. All of this has come as something as a shock. However, on mature reflection I am not especially aggrieved by this change. It’s the same as when a new production of a famous stage musical is undertaken on Broadway or in the West End of London. A new cast brings a fesh perspective to the material and scope for alternative interpretations. I guess I was mainly flummoxed because I just didn't expect it and to find out in such a fashion.
Well it would appear that after the release of The War of the Worlds - The New Generation in 2012, a sumptuous stage show toured round most of the UK's major arenas, just as the original production did in 2006. This featured a performance of the entire album with a full orchestra conducted by Jeff Wayne himself. The holographic projection of Richard Burton's head has now been replaced by a twenty-foot image of Liam Neeson. The live pyrotechnics have been ramped up, as have the back projected visual effects. The live tour features a slightly different cast compared to the studio recording, with Marti Pellow and Jason Donovan taking major roles.
I managed to track down a Blu-ray release of the stage show that was recorded at the London 02 Arena and I must admit that the whole spectacle works very well. The music itself is still as powerful and compelling as it was back in 1978. Just bear in mind when it was written and the fashionable musical idioms of the time. The laser lighting combined with the CGI effects work and faux Victorian news footage does much to enhance the performance, as does the forty-foot Martian fighting machine. The cast are universally good, especially Jason Donovan who really throws himself in to the role of crazed cleric Nathaniel. The orchestra is also outstanding, as are guitarist Chris Spedding and the legendary Herbie Flowers on bass, who both appeared on the original recording.
Inadvertently stumbling across The War of the Worlds - The New Generation was both a shock and a surprise, but it has also provided a fresh perspective on something I’ve always enjoyed. If I have any complaint, then perhaps it's the fact that Mr. Nesson didn't point out to the Martians that he has a very particular set of skills and then proceed to punch them senseless. But I guess that would be too much of a deviation from the source text. NB After digging around online further, it would appear that on 29th November 2018, a brand-new production entitled Jeff Wayne's The War of The Worlds: The Musical Drama was rleased on Audible.com. This is a brand new five hour Audible Original Production based upon Jeff’s Musical Version and HG Wells’ source text, featuring new story and musical content. The all-star cast includes Michael Sheen as The Journalist, Taron Egerton as The Artilleryman, Ade Edmondson as Ogilvy, Theo James as Parson Nathaniel, with Anna Maie Wayne as Carrie, The Journalist’s Wife. I suspect I shall be listening to this over the Holiday period.
The Proust Questionnaire Part 2
At the beginning of November, I started to answer the various questions set out in The Proust Questionnaire, mainly because at some level I do like the occasional insight that “internet questions” can provide. Although most of my answers are frequently tinged with a degree of levity and at times even scorn, every now and then the right question can provoke a sincere response. So here are my measured replies to the remaining interrogative enquiries, for your consideration and edification. If you do not agree with them or find yourself at odds with my mindset, please address any complaints care of the late Marcel Proust (10th July 1871 - 18th November 1922).
At the beginning of November, I started to answer the various questions set out in The Proust Questionnaire, mainly because at some level I do like the occasional insight that “internet questions” can provide. Although most of my answers are frequently tinged with a degree of levity and at times even scorn, every now and then the right question can provoke a sincere response. So here are my measured replies to the remaining interrogative enquiries, for your consideration and edification. If you do not agree with them or find yourself at odds with my mindset, please address any complaints care of the late Marcel Proust (10th July 1871 - 18th November 1922).
18). If you could change one thing about yourself, what would it be? This is an odd question because if implies that changing one thing about yourself is impossible and can only be discussed in the abstract. This is of course nonsense. We can change ourselves physically via exercise, or surgery, make up or even by bathing regularly. As for making emotional, philosophical or psychological change to oneself, there are equally just as many options. I have always embraced the concept of continuous self-improvement. My life is a work in progress.
19). What do you consider your greatest achievement? I raised a son who now has a family of his own. He’s a thoroughly decent human being. Far more so than I. I helped contribute to this.
20). If you were to die and come back as a person or a thing, what would it be? If I was a seventies comedian from the North of England, I’d probably say “a woman’s bicycle saddle”. But I’m not, so I’ll go with an incurable plague virus.
21). Where would you most like to live? Robertsbridge in East Sussex. Or Horsham in West Sussex.
22). What is your most treasured possession? Walter.
23). What do you regard as the lowest depth of misery? I assume this question is supposed to be drawn from your own experience. If so, the most emotionally challenging period of my life and when I was “the most miserable” would be when I got divorced and the accompanying emotional trauma that comes with such a situation.
24). What is your favourite occupation? Interesting. Does this question mean occupation as in job or in the sense of an activity or pursuit? Either way, for me it’s writing. I’m content whenever I am sitting at my desk, typing away on my PC, expressing my thoughts. I like the clarity that writing can bring as well as constructing a measured and logical argument. I also like the banter that can be found on Twitter (if you follow the right people).
25). What is your most marked characteristic? I suspect it may be my sense of humour and my somewhat sardonic manner. The world is a very odd, incongruous and at times illogical place. The current intellectual blackout that is spreading throughout western democracies, scares the hell out of me along with the general decline of politics. Therefore, I use humour and an irreverent attitude as a coping mechanism and prism through which to view life, without being directly broken by its crushing futility and inherent unfairness. I consider humour to be an important human characteristic, as long as one has the ability to focus that humour at oneself, as well as the rest of the world. Beware those individuals who lack any sense of mirth. I believe it betrays more about their nature.
26). What do you most value in your friends? The fact that they know me and yet still stick around.
27). Who are your favourite writers? JRR Tolkien, MR James, Charles Dickens, Ray Bradbury, Agatha Christie, Arthur C Clarke, Saki, HP Lovecraft, Roger Hargreaves, Richard Dawkins, Shirley Jackson, Nigel Kneale, Alan Moore, Arthur Conan-Doyle, HG Wells, Isaac Asimov, William Hope Hodgson, Rod Serling, Marcus Aurelius and many more.
28). Who is your hero of fiction? The Hungry Caterpillar. Also, Mr Tickle and Sam Gamgee.
29). Which historical figure do you most identify with? Robin Hood. I had to wear a stylised Robin Hood outfit in a school play when I was very young. The experience left me traumatised. I bet the real Robin Hood’s outfits were made by his mum.
30). Who are your heroes in real life? Everyday people that do “good” things without the benefit of media scrutiny or praise.
31). What are your favourite names? Xavier, Telemachus, St John (pronounced Sinjun) and Throatwobblermangrove.
32). What is it that you most dislike? A lack of critical thinking. Emotive beliefs and the politics of “feelings”. And people with poor personal hygiene. Wash your clothes and bathe regularly.
33). What is your greatest regret? Leaving my finger prints at the crime scene.
34). How would you like to die? What a stupid question. In my sleep of course and not being torn to pieces by a pack of rabid animals or having my nuts bitten of by a Laplander.
35). What is your motto? Pecuniam vertemus which translates as “Take the money and run”.
Christmas Carol: The Movie (2001)
There’s a degree of hubris implicit in such a definitive title. At the very least the inference is that this is a notable adaptation of Charles Dickens’ classic book. And at first glance, it is perfectly reasonable to assume just that. Jimmy Murakami was an animator of note with such unique movies as The Snowman and When the Wind Blows to his credit. Hence it is reasonable to expect a similar quirky and experimental treatment of this well know yuletide story. However, what audiences actually get is a rather bold adaptation that substantially embellishes upon the established narrative. Veering between sinister and borderline psychedelic imagery, this is a very inconsistent version that tries to be too many things at once. Just as you think you’ve got a handle on the film approach it takes an abrupt turn in the opposite direction. Comedy, drama and even power ballads are thrown into the mix. Sadly, all these elements do not hang well together.
There’s a degree of hubris implicit in such a definitive title. At the very least the inference is that this is a notable adaptation of Charles Dickens’ classic book. And at first glance, it is perfectly reasonable to assume just that. Jimmy Murakami was an animator of note with such unique movies as The Snowman and When the Wind Blows to his credit. Hence it is reasonable to expect a similar quirky and experimental treatment of this well know yuletide story. However, what audiences actually get is a rather bold adaptation that substantially embellishes upon the established narrative. Veering between sinister and borderline psychedelic imagery, this is a very inconsistent version that tries to be too many things at once. Just as you think you’ve got a handle on the film approach it takes an abrupt turn in the opposite direction. Comedy, drama and even power ballads are thrown into the mix. Sadly, all these elements do not hang well together.
Christmas Carol: The Movie begins with an expanded prologue that creates a more substantial back story about Scrooge (Simon Callow) and his former fiancée Belle (Kate Winslet). Having bought the debt of a local children’s hospital, Scrooge proceeds to seizes its meagre assets and has the Doctor who runs it, thrown into debtors’ prison. Old Joe the Pawn Shop owner (Robert Llewellyn) is seen here to be the personal bailiff of Scrooge and Marley. Nurse Belle who works at the hospital writes a letter to her former fiancée imploring him not to let her down a second time. It is at this point that the traditional elements of the story broadly play out. One change of note is that Scrooge is haunted by a luminescent Marley’s Ghost (Nicolas Cage) at his office, rather than in his suite of rooms. Scrooge also tips a bucket of water over carol singers, one of whom is Tiny Tim who has only recently recovered from pneumonia. The focus of the story is more upon the ending of Scrooge’s engagement and his tumultuous relationship with his father. Belle in this instance is a friend of Fan, Scrooge’s sister.
Another aspect of Christmas Carol: The Movie, along with the “expansion” of the story, that makes it stand out from other adaptations is its varied animation style. Each Ghost is accompanied by a distinct aesthetic. It is very noticeable in such scenes where the Ghost of Christmas Past transports Scrooge back to the time of this youth and when the Ghost of Christmas present spreads good cheer via his “horn of plenty”. These “trippy” sequences are dramatic and innovative, yet by this point in the proceedings, the film is tonally all over the shop. We’ve already veered from comedy mice (both Belle and Scrooge have a small murine companion), to insipient infant mortality, and then back to comedy evictions. Then we have the “ignorance and want” scene which has the skin shrinking on the emaciated face of “ignorance” until his skull shatters in a cloud of dust. One for the kids, I think. Also, in some editions of the movie the animated main story is framed between a live action sequence involving Dickens visiting the US and talking about A Christmas Carol to an avid theatre audience. Again, it makes for a very inconsistent piece of cinema.
The conclusion of the story see’s Scrooge reformed and reunited with Belle. He then undertakes the financing of a new hospital. Sadly, the movies lacks any emotional impact because it has tried too hard to be too many things in the proceeding seventy minutes. I can just about muster some praise for Jimmy Murakami for attempting to do something different with such a familiar story, but the film over reaches and cannot decide in what manner to commit itself. Thus, we are left with a rather odd but flawed adaptation that will only really be of interest to niche market film fans. Otherwise, Christmas Carol: The Movie is just something you’d have idly playing in the background over the Christmas holidays, because you’re too full of wine and mince pies to bother to change channel.
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”.