"Batman: The Killing Joke" by Alan Moore & Brian Bolland

As regular readers will have noticed, I've been reading a lot of stuff by Alan Moore lately. Moore is widely credited with revolutionising the comics medium over a series of works, and I'm finally beginning to catch up with them. Most of his stories are wholly original tales, such as Watchmen (the most praised of them all) or V for Vendetta; when not, they're usually his own tales from re-used material, such as From Hell (a take on Jack the Ripper) or The League of Extraordinary Gentlemen (which takes Victorian literary characters and makes a superhero team out of them). In this context, The Killing Joke is a rarity, because it's a Batman story -- a well-established existing character, obviously. Published in 1988, the 46-page tale is from the same era as Year One and The Dark Knight Returns, and not long after Watchmen -- all part of the growing-up and 'darkening' of comics in the '80s. Arguably this can be seen in Tim Burton's 1989 Batman film, but with 2006's Batman Begins taking elements from Year One and Dark Knight Returns and the forthcoming The Dark Knight reportedly using Killing Joke as the basis for its version of the Joker (not to mention Watchmen finally being released next year), it seems the full effect of this particular movement has taken a bit longer to hit our screens.

But enough of that, what of the tale itself? It has two prongs: a 'present' element, in which a recently escaped Joker kidnaps Commissioner Gordon and psychology tortures him, attempting to prove that anyone can be driven mad as the Joker was; and a past thread, in which a young father-to-be has quit his job to be a comedian, but is considering a crime to make ends meet... Within this, Moore packs in all his favourite regular tricks and techniques: there's the opening few panels that pull out from extreme close-up to long shot; two stories told in parallel, one revealing the past of a character; a version of match-cutting in and out of these; zooming in and out of items/faces across multiple panels; retaining the same static 'shot' across multiple panels, often while something develops in the background; long passages with no dialogue; using several panels to show a character performing a simple action; an act of sexual violence as a key plot point; a deliberate blurring of the line between hero and villain; long, wordy, philosophical speeches; and mirroring techniques in the structure -- here, for example, the opening line of the finale is inserted as the book's first line, while at the same time Batman's opening dialogue is repeated over the climax. To say Moore is repetitive or constantly copying himself may be a bit much, but he certainly has a tendency to re-use a certain set of techniques in new arrangements to craft his tales (a bit like Steven Moffat with Doctor Who, then).

The story aside, Bolland's art is fantastic. Stylistically, it looks like it was drawn now, not 20 years ago, which in part must be due to fresh colouring. Bolland was never happy with the original colouring of the book -- he was scheduled to do it, but ran out of time and so it had to be completed by John Higgins, who didn't have the same vision as Bolland -- and so he was glad to have the chance to re-do it for this new edition. I haven't seen the original to compare fully, and it will surely upset some purists, but it looks brilliant. Bolland has clearly utilised all the modern computer-based techniques available to colourists, creating a subdued pallet that suits the story's nature. While the gaudy colours of Watchmen create a thematic counterpoint to the grim, realistic story, here I think such a technique would just undermine the point, so Bolland's new work fits like a glove. From the odd frame I've managed to find of the original colouring online, I'd actually quite like to get hold of that just for the sake of comparison.

IGN voted The Killing Joke as the 3rd greatest Batman story ever. I'm yet to read most of those that surround it on that list, so can't really comment for myself, but, in spite of Moore's increasingly familiar tropes, it's an engrossing story. The recent oversized hardback re-release, called The Deluxe Edition on the cover, is certainly worth owning -- while its £12 RRP is steep for a 46-page main story, 8-page second strip, and 6 pages of other stuff, it can be had for less and seems worth it to me.

While I'm primarily reading Watchmen at the minute, don't be surprised if more graphic novel reviews -- primarily Batman ones, I expect -- crop up over the next week or two.

this week on 100 Films

First up this week from 100 Films in a Year, it's my look back at June.


Elsewise, two brand-new reviews were published this week, and they were...


The Killing of a Chinese Bookie (1976/1978)

Ever since I read the blurb for Masters of Cinema's DVD of Maurice Pialat's Police, I've been casually enticed by The Killing of a Chinese Bookie. Said blurb asserts that "Police is a genre-defying excursion rivaled only by John Cassavetes’ The Killing of a Chinese Bookie in the pantheon of cinema’s most idiosyncratic thrillers", which is both a nice turn of phrase and an intriguing one. The thriller is very much a Genre — that is to say, it's a label loaded with rules and expectations, and to be idiosyncratic within such a form is an interesting notion. Both "thriller" and "idiosyncratic" are pretty accurate labels for Chinese Bookie, though

Read more here.


Transformers: Dark of the Moon (2011)

It starts off well, with a virtuoso eight-minute pre-credits sequence that reconfigures the past 50 years of Earth’s spacefaring in the story’s image. OK, so it contains a seriously ill-advised, incredibly poorly-realised CGI JFK, but we can let some things go. Unfortunately, from here on out the movie does its best to pile on stuff we can’t let go.

Read more here.


Finally, several older reviews were new to the new blog...


The Three Musketeers (1973)

I like a good swashbuckler. I don’t know exactly what it is about sword fights, but they’re probably my most favourite kind of action sequence. The 1973 Three Musketeers, then, is a film I’m slightly amazed I’ve not seen before. Especially as I absolutely loved it.

Read more here.


The Four Musketeers (1974)

It’s a bit grim too [and] none of it sits well with the jolly swashbuckling tone that still dominates. There are some good action sequences nonetheless — for instance, the ice-covered lake; breakfast/siege in the ruined fort; and the burning-building finale — which go some way to make up for the shortcomings.

Read more here.


Star Trek: First Contact (1996)

It gets off to a flying start. The first 20 or 30 minutes in particular move at a rate of knots, churning through plot in a way no blockbuster would seem to dare these days...: a Borg attack; the Enterpise ordered not to join the fight; Picard doing so anyway; the destruction of the Borg cube; the Borg, erm, ball flying into the past; the Enterprise following; meeting Zephram Cochrane and his lot… It’s boom boom boom, moving on. It’s nice to rattle through a tale

Read more here.


More next Sunday.

Doctor Who: Turn Left

"Unrelentingly bleak" is probably the most accurate way to describe the penultimate story of Doctor Who's fourth revived season. It's certainly the darkest thing you'll've seen broadcast as part of a family show so early on a Saturday evening -- tonight's first half of the finale two-parter, full as it's likely to be of apocalyptic slaughter, is unlikely to equal the real-world horror of what happened after Donna turned right. Obviously the chances of a replica Titanic obliterating London are slim, but the increasingly disastrous consequences of a major destructive incident in Southern England are all too believable.

Aside from scaring viewers witless, Turn Left allows the series' recurring characters to shine. There are great scenes for both Bernard Cribbins and Jacqueline King here, showing the calibre of actor that Who can cast in even the smallest of roles. But, as was so insisted before the episode's broadcast, it really is Donna's episode. Truth be told, in spite of what people liked to say in the hype, Tate's performance here won't convince many (or any) of those who hate her. That's not because she's no good -- she's brilliant -- but it's the performance she's been giving for the last 10 episodes, plus a resurgence of her one from the 2006 Christmas special, combined and pushed to their utmost quality... but if you hate her in the first place, you're not going to like her any more now. Your loss, but there you go.

Davies' script cunningly re-appropriates elements from the present-day-Earth episodes from the last two seasons, showing how badly wrong things could have gone without the Doctor. The silly moment from the last Christmas special when the Titanic just missed Buckingham Palace becomes the chilling event which wipes out London and ruins Britain. The cute little Adipose, whose creation only resulted in the death of one person back at the start of this season, wipe out swathes of America. The Sontaran's Atmos is stopped, but at the cost of the lives of all Torchwood's remaining team members; the Doctor stopped the Judoon from killing anyone (well, mostly), but Martha, Sarah Jane and her friends die trying to stop them, along with everyone else in the hospital. And to top it all off, the BNP seem to have come into power as ethnic minorities are shipped off to 'labour camps'. Somehow, I don't think it's for "education education education".

Perhaps the most impressive thing about this episode, however, is that, after two Christmas specials and almost two whole seasons, Rose is back... and I've written three paragraphs without even bothering to mention here. Such is the extent that Donna dominates this episode, the return of one of the Doctor's most beloved companions -- certainly of recent years -- is actually an almost incidental element of the episode. The best bit of it is the re-appropriation of Bad Wolf, the first season's intriguing thread that led to a denouement many felt was lacking (personally, I never had any problems with it). It seems Russell T Davies has found new significance to give to it -- as, I suspect, he will do with many things from the preceding seasons in the next two weeks -- and that's probably a good thing.

Certainly, it's easy for the surprising final moments, and the exciting trailer for The Stolen Earth, to take all attention away from the episode itself. Such is the nature of excitement for a season finale which has, as ever, been building since episode one (and possibly longer). Turn Left is still a great, if highly depressing, episode, though difficult to love because it's about as much fun as torture by mosquitoes. I don't imagine it will be topping any Best Of Season polls.

Fiction

Batman: The Killing Joke by Alan Moore & Brian Bolland
As well as the main story, there's an introduction by Tim Sale, an afterword by Brian Bolland, and a selection of art from the files of Brian Bolland included in the recently released Batman: The Killing Joke - The Deluxe Edition.
See here for my thoughts on The Killing Joke.

Blood Fever by Charlie Higson
Chapters 28 - 30 [the end]
An odd final few chapters, in which James faces off a string of increasingly minor enemies. Still, all in, an even better book than the first. Next up, the apparently Da Vinci Code-esque Double or Die.

An Innocent Guy by Brian Bolland
(from Batman: The Killing Joke - The Deluxe Edition)
Short Batman story written and drawn by Brian Bolland. Originally published as part of the Batman: Black & White strand, it's presented here in a coloured form.

Watchmen by Alan Moore & Dave Gibbons
Chapter VI
Walter J. Kovacs files
See here for my thoughts on these chapters of Watchmen.

Articles

Daniel Kleinman Joins Skyfall
(from MI6)

I am ever so happy about this news! Kleinman designed all the Bond title sequences from GoldenEye to Casino Royale (those two in particular being amongst the finest the entire series has to offer), but was replaced on Quantum of Solace by the director's preferred effects company... who turned in a woeful, uninspired sequence that may be among the franchise's worst. Hopefully Kleinman will be on full form and deliver something incredible once again.


July 2012 Preview
by Ray Subers (from Box Office Mojo)

If you're interested in movies' box office grosses (which I am, at least a bit), then here's an interesting preview/analysis of the next month's films. That includes the likes of The Dark Knight Rises (will it best The Dark Knight? Can it possibly beat The Avengers?); The Amazing Spider-Man (can it equal Sam Raimi's trilogy? Will it get lost in DKR build-up?); Ice Age: Continental Drift (as only the second animated series ever to reach a fourth entry, coming behind two very successful CG 'toons already this year, is it doomed?); and, of course, more (all of which will almost certainly be less successful).


The mystery of The Killing Zone
by John Cox (from The Book Bond)

Easiest way to explain this intriguing work is from the article itself:

One of the more mysterious stories in the world of the literary James Bond is that of the little-known 007 novel The Killing Zone by Jim Hatfield. [It] appeared in 1985 -- the year official continuation novelist John Gardner had off -- and claims on its copyright page to be officially licensed by Glidrose Publications (now Ian Fleming Publications). But this book is far from official.

More (naturally) at the link.

Video Games

Indiana Jones and the Great Circle

Amazon recently announced some changes to their Prime Gaming and Luna offerings (essentially, combining them under the latter brand, plus a refresh of the Prime-tier of Luna to include more recent, big-name games), and it went live this week. There are a few titles on there that I wanted to play, but this jumped straight to the front of the queue. I've been an Indy fan as long as I can remember, and this game seemed to receive nothing but praise when it came out. I nearly subscribed to Xbox Game Pass just to play this — indeed, I was still planning to at some point, but I've bought so much else for my Steam Deck and 3DS recently, I thought I should focus on them for a bit first. But, heck, if this didn't cost £60+ and reviews had said it ran well on the Deck (apparently it doesn't), I probably would've bought it and dived in. So I was ecstatic when I saw it was coming to Luna Standard (as it's now called), I've quickly dived in now it's available, and...

Well, thank goodness I didn't pay £60 for it. Or whatever the cost of Game Pass was, even. I'm about two hours in and I'm... bored, really.

So, it looks pretty great, overall — there are some issues, but that might be with how Luna runs it and/or streaming in general (if I loved it, I'd be tempted to buy it and play it through GeForce Now, which I'm considering for some other graphics-heavy titles that my Deck won't run well). In the cutscenes and so forth it does a good job of recreating the feel of an Indy movie. But the gameplay...

I suppose dying multiple times during the opening tutorial-ish section was a bad omen. I'm sure that's partly a skill issue on my part, but not entirely ("oh, I need to run now? Okay, so I press... Oh, I'm dead", repeated a couple of times until I did it right). Part of the slow pace is my desire to explore and see and find everything, but I guess there's not really enough to see to justify that. It's funny, because some people say it's really an exploration/puzzle game, but as someone who likes that kind of game, nah, it doesn't scratch that itch right.

Instead, there's a lot of stealth. I find stealth boring in concept, and turns out I do in play, too. I can see the inspiration — Indy isn't a run-and-gun killing machine, so they don't want it to be a shooter — but the Indy films are action adventures, and stealth simply doesn't feel adventurous and it's certainly not action-packed. I turned the action difficulty down to low, so the enemies and stuff weren't too difficult when they did spot me, but I wasted so much time not trying to be spotted. The level design felt like a maze, too — it didn't feel like I was exploring, it felt like I was lost.

I have so many other complaints and niggles, too. One I feel I see all too often in recently-made games I try is that it won't let you save wherever you want; it only saves when it decides to. At least that's not only at the end of a lengthy level, or only at majorly significant checkpoints — sometimes the little save icon will flash up when you enter an inauspicious room (and it's not a portent of "this seemingly unimportant room is about to be a big fight", which is how some games do it). And it does try to help you on the pause menu by stating how long it's been since the last autosave — I've not seen that before, and it's a useful feature... if only for the fact that, when I wanted to quit, it told me it had been quarter-of-an-hour since the last save. The immediately-obvious downside was that, to not lose that quarter-hour of progress, I had to keep going when I didn't really want to, at least until I trigged a new save, which took a fair while. Making you play when you don't actually want to anymore is the kind of thign that turns you off a game!

The first person view does not suit it. That feels like a funny thing for me to say, because back when I was into gaming the first time round, FPS was the genre and third-person games were often looked down upon. I feel opinion has swung in the other direction, and playing this in first person feels wrong. It's a bad fit for the property (I don't want to be Indy, I want to watch him have adventures) and for the style of gameplay (both stealth and melee combat feel so much harder in this than in third-person games I've played that use similar mechanics).

Then there's the point early on where it suggests you read the in-game manual to learn how to do stuff, and it turns out that's a mass of different screens explaining dozens of different gameplay mechanics. Why is it so complicated?! How often am I going to need to do all these different things? Should I be trying to memorise them because the game is truly flexible and I could use any at any time? Or, actually, are some only used in very specific circumstances? In which case, can't you just explain them when I get there? Or maybe you could've just made the game less unnecessarily complicated, I dunno.

I feel like I should go back to this, because I'm a huge Indy fan and this is such a praised Indy experience. Also, I've only given it one go, and I'm still quite early into it — it kinda feels like I've only done some training mission-type opening stuff; and, indeed, the level I'm on is still hand-holding a little... even as it could handhold more (that damn maze-like layout). Perhaps if I can get past these early teething troubles...

But the first barrier is the fact I don't really want to go back to it now — the complete opposite to how desperate I was to play it before. That's some cruel irony. I'm going to have to force myself, and I can't decide if it's worth that effort.

On the bright side, in this new Lina world it doesn't seem to have a time limit on the Standard tier (other games do, so it's not that they're not listing them anymore), so I guess I've got some time still to force myself back into it. That might help. Or maybe I'll lean on that possibility and just never try again. We'll see.

Fiction

Batman: Year One by Frank Miller & David Mazzucchelli
Chapters One - Four [the end]
See here for some of my thoughts on this book.

Batman: The Man Who Laughs by Ed Brubaker & Doug Mahnke
Like the film it inspired, Batman: Year One ends with newly-promoted Captain Jim Gordon informing Batman about a rising threat: the Joker. As The Dark Knight will do on film, The Man Who Laughs follows directly from this moment... Written very recently (2005), The Man Who Laughs mixes elements of Year One, the Joker's origin from The Killing Joke, and Batman's original first battle with him (in 1940's Batman #1), to retell the story of the Batman's first encounter with his nemesis. It's part of a new wave of creators retelling early Batman stories: 2005/6's Batman and the Monster Men is set during Year One and tells of Batman's first encounter with Dr Hugo Strange, while 2006/7's Batman and the Mad Monk retells another tale from Batman's first few appearances in Detective Comics, and leads directly into The Man Who Laughs (all three of these stories are collected in The Batman Chronicles Volume 1).

Batman: Made of Wood by Ed Brubaker & Patrick Zircher
(from the Batman: The Man Who Laughs hardcover)
Only tenuously linked with The Man Who Laughs: same writer and major involvement for (a retired) Gordon. In some ways it mirrors the construction of Man Who Laughs (which in turn mirrors Year One), with Gordon and Batman pursuing different lines of inquiry, narrated in journal-style text boxes. The story itself concerns a series of murders from the '40s, when Green Lantern patrolled Gotham. Consequently it's a bit of a team-up tale, a genre I don't care for on the whole, especially when it's someone with silly superpowers intruding on Batman's superpower-free world. On the plus side, the last page gives some nice extra meaning / modified perspective on what went before.

Not that this really matters to anyone, but... normally I keep what I've read/watched to alphabetical order, but have here stuck to the order I read them because my comments flow that way.

this week on 100 Films

A whopping 7 brand-new reviews were published to 100 Films in a Year this week! They were...


Batman: The Killing Joke (2016)

it’s dark, and to do it justice the makers needed to make it R-rated [and] they’ve done just that. So here we have a very faithful adaptation of the graphic novel… but it’s a bit short, so there’s a 28-minute prologue stuck on the front. Designed to ameliorate some of the issues people have with the original book, it’s actually only made things worse, containing brand-new controversial elements all of its own. Oh dear.

Read more here.


Blackhat (2015)

The great Michael Mann, who once helmed genre-defining crime movies with expertly-directed sequences, here delivers a movie that looks like an amateur cheapie by a film student who’s watched too many Paul Greengrass movies without learning anything meaningful from them.

Read more here.


Brooklyn (2015)

Guiding us through this, the film’s heart in every respect, is Saoirse Ronan’s leading performance. I will watch Ronan in essentially anything at this point, both because she seems to choose good material and because, even when she doesn’t, she’s great in it. This is probably her first really mature performance, convincing as a somewhat shy young woman who makes her way out into the world, in the process realising all the confidence she should have in herself.

Read more here.


Chappie (2015)

Neill Blomkamp seems to be on M. Night Shyamalan’s career path: a massively-praised Oscar-nominated breakthrough genre movie, followed by a series of increasingly maligned follow-ups.

Read more here.


Lucy (2014)

After years producing movies in the Taken stable, Luc Besson directs one himself. Unfortunately it’s a poor effort — not a bad movie, exactly, but a deeply silly one.

Read more here.


Pan (2015)

this is an exciting and enjoyable fantasy adventure, best commended for its inventive, well-realised visuals and colourful design, which when it really clicks can be quite incredible. I suppose that might not be enough to overcome a familiar plot for some viewers, but it eases the way in this particular example.

Read more here.


The Second Best Exotic Marigold Hotel (2015)

It’s easy to dismiss films like this as twee vehicles chasing the so-called ‘grey pound’, but, in this instance at least, that would do it a disservice. When a film is as amusing and emotional as this one, while also exploring an increasingly relevant aspect of life... then its audience should reach far wider than the age bracket of its principal characters.

Read more here.


Also, my 100 Favourites series continued with 2 more posts...


Mission: Impossible II (2000)

M:i-2, as we used to call it, is pretty much everyone’s least-favourite Mission movie, a place only cemented by the two excellent instalments that have been released during this blog’s lifetime. To be honest, I’ve never really been sure why. It’s very much a John Woo movie, all overblown action and melodramatic stakes, and I’d be tempted to say that turns people off were it not for the love Face/Off receives. Personally I like his style

Read more here.


Moulin Rouge! (2001)

These days there are plenty of musicals appearing on the big screen, and they’re often contending for the top gongs come awards season. This wasn’t the case back in 2001 — Moulin Rouge, divisive as it is, changed all that. Baz Luhrmann’s injection of modern MTV style gave the genre a kick up the arse, which isn’t necessarily to the taste of classic musical fans but certainly brought the genre renewed mainstream attention.

Read more here.


More next Sunday.

"Doctor Who - Decide Your Destiny: War of the Robots" by Trevor Baxendale

Regular Who author Trevor Baxendale joins the Decide Your Destiny stable with this sixth book in the series (which has so far made it to twelve entries), the dramatically titled War of the Robots. Baxendale's adventure is set "on a distant world populated by robots [where] war has been raging for many years. Can you, the Doctor and Martha discover why the robots are fighting and end the war once and for all?" Ooh, peaceful.

The story begins as it means to go on -- with war! Smoke, gunfire, explosions... it's all-action here. Sadly, the first time I read the book through, Baxendale fell prey to the same trap as Davey Moore, shuttling the reader from page to page without any choices. It was so brief and horridly linear that I did actually read it through again, the first time I've bothered to do that. As an exercise, this showed how unlucky you can get with the wrong choices, as a re-read (attempting to follow several paths at once, too) gave me many more options and longer, more action-packed storylines. The first time through we quickly wound up on a space station, talking a robot into stopping the war; the second time we encountered a group of humans, and wound up killing robots and battling robot dogs. Compared to this, it's a shame the somewhat dull space station alternative even exists. Elsewhere, the choices offered are decent enough (importantly, as I stress with good reason in every review, you direct your character and not the story), if never hugely different. To be fair, I imagine it must be hard to offer many branches with just over 100 segments, and it may be too harsh to pick on the story always leading to similar events -- especially when I also call for the NPCs to be doing more or less the same things in every version.

Get the right path and Baxendale's book provides an entertaining read with moderately varied choices and some exciting sequences; but get the wrong one and you'll be shuttled through a dull denouement -- possibly a common problem that I just haven't been unfortunate enough to come across before. Even with this, it's one of the series' better efforts.

this week on 100 Films

A new month began this weekend, and so it was time for 100 Films in a Year to look back at the last one...





Also this week, 4 brand-new reviews...


Creed (2015)

I feel wrong enjoying Creed the most out of the Rocky movies — like I’m just going for the most recent one, as if new = best — but the major reason I loved it so much is the way it has reverence for and builds on the past. As a standalone movie, it’s more-or-less equal to the best of the original Rocky films; but as specifically the seventh film in the Rocky series, it stands atop that 40-year history to add extra weight to everything.

Read more here.


The Greatest Showman (2017)

I can see why The Greatest Showman was unpopular with critics but a huge hit with audiences — it’s a proper crowd-pleaser; a big, cheesy, easy extravaganza, similar to its pop-style music. That’s not the sort of thing critics are enamoured of, but it is the kind of thing that tickles the fancy of the masses. On the whole, it didn’t appeal to me... but it did have its moments.

Read more here.


Have a Good Funeral, My Friend... Sartana Will Pay (1970)

Gianni Garko's back in the saddle as the titular roguish hero for the fourth official Sartana movie, which is apparently regarded as the best one — that's what the guys on Arrow's commentary track say, anyway, and it's borne out by viewer ratings on websites like IMDb. I can't say I felt similarly, though after listening to that audio commentary, their enthusiasm and highlighting of the good stuff did help increase my enjoyment.

Read more here.


RoboCop (2014)

It should be cutting and provocative, but it’s just bland. That’s the biggest shame, because if there’s a movie 2018 needs it’s one about corrupt businessmen hijacking the government’s decision-making while right-wing TV chatterers cheer them on and police officers are replaced by an ultimate-killing-machine robot.

Read more here.


More next Sunday.

this week on 100 Films

Right back at the start of this week, September started! Which of course means 100 Films in a Year took pause to look back at August. Read all about it here.


Following that, four brand-new reviews were published. They were...


The Battle of the Somme (1916)

Arguably the most famous clash of the First World War, the Battle of the Somme lasted four-and-a-half months from July to November 1916 and, with over a million men wounded or killed, is “one of the bloodiest battles in human history.” As the BBC’s History website puts it, although it was “intended to be a decisive breakthrough, the Battle of the Somme instead became a byword for futile and indiscriminate slaughter”. Not that you’d guess it from this contemporary documentary, which is essentially a propaganda piece produced by the British government.

Read more here.


Crimes of Passion: Death of a Loved One (2013)

the latest Scandi-crime acquisition for BBC Four, airing in their regular “foreign crime” slot of Saturday nights at 9pm. [This first episode debuted in cinemas in March 2013.] Marketed as “Mad Men meets The Killing”, it would be more accurately be described as “Agatha Christie with subtitles”.

Read more here.


The House of Fear (1945)

it felt to me like it wasn’t really going anywhere until Holmes suddenly figured it all out at the end. Certainly he draws on clues encountered along the way, but even then most of those come late on.

Read more here.


Wrath of the Titans (2012)

A confused story connects workmanlike action sequences and mediocre CGI... New ideas sporadically rear their head, but Liebesman can’t ring anything interesting from them. Its predecessor’s strong points — creature design; retro-styled gods — are AWOL.

Read more here.


But just one review was re-posted to the new blog this week (oops).


Clash of the Titans (2010)

the film is built to provide action sequences, though these are passable and rarely more. They’re fine while they’re happening, but pretty much forgotten after — none of it shows a great deal of inspiration. The history of film is littered with far worse examples, but that’s about the best I can say.

Read more here.


More next Sunday.

"Doctor Who - Decide Your Destiny: Second Skin" by Richard Dungworth

Thus far, Richard Dungworth has proved to be easily the best author in the Decide Your Destiny series, so you could almost say I'm looking forward to this, his third (and, to date, final) book for the series. In Second Skin, "you find yourself on a twenty-third century space station, [where] you soon realise a dangerous alien parasite has taken over most of the people on-board. Can you and the Doctor destroy it before it reaches Earth?" Ooh, tense.

Dungworth doesn't disappoint (ooh, alliterative). Once again, his book is filled with genuine and appropriate choices. There's a real feeling that what you choose to do has an effect on what happens and which story you see, and a quick scan over the course different options offer seems to confirm this is true -- no "choose door A or door B" actually leading to the same room here! All this in spite of only having 94 segments (down from the usual 100+) and four endings. As for the plot, it's a Who-like story of a technology company gone wrong, and an alien parasite turning ordinary people bad -- cue saving them without killing anyone. The first half was mostly running around escaping these half-humans, but that may well have been the choices I made as much as anything -- several times a choice I didn't take would've led to meeting the only pure human on the station, so perhaps the running would've been over sooner if I'd gone that way.

One thing I did stumble across, which I've not had before in this series, was a point where neither choice offered seemed to make any sense; the segments they pointed to didn't flow from the one I'd just read. Obviously there are a number of possible explanations -- it could be a formatting error, or a typo, so that they're pointing to the wrong pages; or it could just be an awkward jump in events, which really shouldn't exist (especially with just 94 segments, there's room to spare for duplicates with a sentence that explains the jump). It's a somewhat irritating error, if you hit that segment, because the sudden incoherence occupies your mind and takes you out of the story. As it's Dungworth, I'll give it the benefit of the doubt and assume it's some sort of accident rather than poor writing.

Second Skin isn't my favourite entry -- to be honest, it's going to take a lot to top the battle at the end of Alien Arena -- but it plays well and has a decent story. Certainly one of the series' better books.

Articles

Bourne 4 Gets Writer by Emily Phillips
(from Empire Online)
But will it be called The Bourne Legacy?

First Look At Inglourious Brad Pitt by Dan Goodswen
(from Empire Online)
More interesting than the photo, in my opinion, is the (brief) article itself: "Quentin Tarantino has painted his WWII epic Inglourious Basterds [sic] as his take on a spaghetti western, even joking that he might title the film Once Upon a Time in Nazi-Occupied France. [It's about] a group of Jewish-American soldiers, known as 'The Basterds' who are chosen specifically to spread fear among the Third Reich by scalping and brutally killing Nazis." Cool.

Movie Reviews: Max Payne
(from Studio Briefing)
"About the only thing it has going for it is the stylized production design and a few cool special effects, but the story couldn't be more inane nor the characters less credible." Oh dear. But no surprise, really.

Movie Reviews: W.
(from Studio Briefing)
"Somewhat surprisingly W. has turned out to be director Oliver Stone's best-reviewed film in ages... Josh Brolin's portrayal of the president receives nearly universal praise [but] 'making a Bush movie that doesn't dramatize 9/11 nor mention the historic 2000 election controversy is negligent at best' [and] 'Why, when Americans and citizens around the globe are still coming to terms with the implications of so many Bush policies, would they want to pay money at the box office to see what amounts to an extended Saturday Night Live skit?'" Too soon? I think so.

Review of Quantum of Solace by Kim Newman
(from Empire Online)
"A pacy, visually imaginative follow-up. If it doesn’t even try to be bigger than Casino Royale, that’s perhaps a smart move in that there’s still a sense at the end that Bond’s mission has barely begun and he’ll need a few more movies to work his way up to destroying the apparently undefeatable Quantum organisation. The only real caveat is that while it’s exciting, it’s not exactly anyone’s idea of fun. To keep in the game, perhaps the next movie could let the hero enjoy himself a bit more." It's sounding good to me! Still undecided on that poster though. I don't hate it, but it's not half as good as CR's.

As they did earlier this summer with The Dark Knight and... oh, some other blockbuster, I forget which... Empire are having a Bond Fortnight in the run up to the release of Quantum of Solace. It began yesterday with 30 Second Guides to Every Bond Movie, and continued today with their review of QoS (see above). There's 12 more features to come over the next two weeks.

Articles

Doctor Who And The End Of Time: Tennant's Last Moments by Charlie Jane Anders
(from io9)
Firstly, The Waters of Mars: yes, yes, yes! After setting up the concept of "some things must not be changed" to explain why the Doctor didn't just save everyone in The Fires of Pompeii, doing the same in a future-set episode is officially the new Best Idea Ever. Well done Russell & co for thinking of it -- it seems so obvious, yet I bet didn't occur to most people.
Anyway, this report includes more details on the trailers shown, and a few more bits of info on the Who panel... but hardly anything more than the weak article I found yesterday, so I'm led to assume there was really nothing to report. Ho hum.

Oh wait, what's this? A more thorough report. Yes indeed...

Live: Doctor Who panel at Comic-Con by Neil Wilkes
(from Digital Spy)
Ah, right, nothing else news-y. Fans may wish to wade through the writer's irritating lack of Who knowledge (despite the fact he thinks he knows a lot, clearly) for the info present. Only news on Torchwood 4 is that it's not confirmed but is likely, etc etc.

Talking of Torchwood, what's this?

Live: Torchwood panel at Comic-Con by Neil Wilkes
(from Digital Spy)
Thanks to a series recently airing, there's a bit more to this panel than the Who one, though still little in the way of news. Probably the best bit: "RTD says he is "still reeling" from the success of [Children of Earth] and says no-one at the BBC saw it coming." Super.
Actually, even better: "Girl claims that RTD has "hurt" a lot of internet fans and accuses him of being "out of line" with killing Ianto. "I'm immensely sorry if people are sad, but I'm not changing my mind. I've got to be blunt about this, there have been campaigns to send packets of coffee to BBC Wales in protest. There have been nine packets sent. I'm not taking the mickey, but that's a very small number."" You tell 'em Russell!

Also from the Con...

Are You Ready For The Avatar Backlash? by Charlie Jane Anders
(from io9)
Remember what I said about Avatar not sounding that great? Well...

And on a final, related (not to Avatar, to Torchwood) note...

Torchwood Children Of Earth Soundtrack review by Cameron K McEwan
(from Den of Geek!)
I've not changed my opinion that Den of Geek is rubbish (because it is), but this review is worth reading purely for this comment:

The Ballad Of Ianto Jones [is] one of the album's highlights. Though ‘highlights' does not quite do it service or meaning. It's more of a ‘low'light in tone and emotion. Not a tune for those emotionally unstable 'fans' that can't handle drama.

Nice dig! I approve.

TV

Derren Brown: The Events - Live
1x04 How to Take Down a Casino [series finale]
Out by just one! That's really rather incredible.
[Watch it (again) on 4oD.]

House
5x07 The Itch
5x08 Emancipation
Tying one's plot and subplots together thematically may be widely touted as a Good Thing, but it's also possible to do it a little too obviously or a little too much, which seems to be the case with both these episodes. On the other hand, The Itch uses the agoraphobic patient as a metaphor for House's locked-up feelings, whereas Emancipation's brother-accidentally-killing-brother subplot is just a straight-up mirroring of the main plot's eventual reveal.

How I Met Your Mother
1x18 Nothing Good Happens After 2 A.M.
1x19 Mary the Paralegal
How I Met Your Mother messes around with time ever so well. Jumping back 20 hours to show Robin's day in Nothing Good... worked quite well, but the "3 months earlier" thing in Mary the Paralegal is an example of the time-messing-around at its best.

Merlin
2x03 The Nightmare Begins
Nice to see Merlin furthering its arc plots, including bringing back and developing characters from the first season. As well as being good for regular viewers and raising the series above Magician of the Week status, it really gives a feel for the five-year plan the producers have. Even the episode title suggests that things are only just getting under way...
On another note, the music this season seems to have been very heavily influenced by The Dark Knight.
[Watch it (again) on iPlayer.]

this week on 100 Films

You may have noticed it's a new month, but I'm currently away and so the 100 Films in a Year April update will have to keep until next week.


Nonetheless, two brand-new reviews were still published this week...


The Sugarland Express (1974)

Largely overlooked these days, I guess because it doesn’t obviously fit with Spielberg’s renowned sci-fi, adventure, and worthy-historical pictures, The Sugarland Express merits more attention. Tonally, and in terms of the level of directorial skill it exhibits, it fits right amongst the pack of his better-remembered works.

Read more here.


Valkyrie (2008)

There's no point beating about the bush: they don't succeed [in killing Hitler]. We all know that. The film's marvel, really, is in making us believe they might... Singer has crafted a proper thriller here, replete with scenes of edge-of-your-seat tension. Many a filmmaker can't manage that with a fictional storyline, never mind one where we know exactly how it turns out.

Read more here.


Additionally, I added five archive reviews to the new blog...


Ghost Town (2008)

It's a gently amusing affair, with little that's especially memorable but is absolutely fine while it goes about its business. Many scenes may raise a smile or a giggle, but little more than that.

Read more here.


The Great Dictator (1940)

one of Chaplin's most widely-known films thanks to setting its sights on the Nazi regime and Adolf Hitler in particular... the real-world targets make his work satirical as well. I'm sure this made for great propaganda when it was released just a year into the war, but Chaplin's skill and accuracy mean it works beyond that: like all good impersonations or spoofs it doesn't make its objects silly for no reason, but instead takes what's inherently laughable about them and exploits it.

Read more here.


Perfume: The Story of a Murderer (2006)

adaptation of Patrick Süskind's popular novel, often considered unfilmable because of its focus on the sense of smell. Tykwer covers for that with strong cinematography, with sumptuously rich visuals and a judicious use of close-ups to evoke beauty or disgust as appropriate

Read more here.


Superhero Movie (2008)

Superhero Movie is mainly a spoof of Spider-Man... a film that [at the time of making was] six years old. Unfortunately, this means that most of the best jokes have already been done in numerous other sketch-length spoofs... Superhero Movie takes all this sketchery to the next level, however, crafting its story simply by reworking the first Spider-Man film almost scene by scene, inserting jokes (and, more often, 'jokes') where it can -- which is about once per scene.

Read more here.


Wilde (1997)

Stephen Fry is perfectly cast as Wilde and Jude Law is suitably horrid as the spoilt, stroppy and thoroughly dislikeable Bosie, whose selfishness brings about Wilde's downfall. Also worthy of note is the ever-excellent Michael Sheen in a smaller but vital role

Read more here.


More next Sunday.

this week on 100 Films

3 brand-new reviews were published to 100 Films in a Year this week, and they were...


Hamlet (1964)

A black-and-white, two-and-a-half hour Shakespeare adaptation in subtitled Russian? No, wait, come back! Actually, don’t bother, because if you’re turned off by any or all of that description then, yeah, this isn’t for you. If you don’t object, however, then you’ll find a film that the likes of Sir Laurence Olivier, Sir John Gielgud, and Sir Kenneth Branagh have hailed as the greatest film adaptation of arguably the Bard’s most revered play.

Read more here.


SuperBob (2015)

begins as a faux-documentary; a film being made about Bob and his life, which makes sense because who wouldn’t be interested in a documentary on the world’s only superhero? For us real-life viewers, though, it’s a form that feels a little tired at this point — I involuntarily groaned out loud when I realised that’s where it was going. Stick with it, though, because the conceit is all but dropped fairly early on, and the film begins to develop in nice directions.

Read more here.


X-Men: Apocalypse (2016)

With so many characters to deal with, the film becomes a little overburdened with subplots. It’s trying to be a trilogy-former for the remnants of the First Class cast... but it’s also trying to introduce the new-old gang of X-Men, and establish their characters to head-up future movies; and it also has to deal with establishing its villain and his plans. It’s a big ask, and while director Bryan Singer and screenwriter Simon Kinberg do manage to keep all the plates spinning and achieve something with most of them... some plot threads do feel perfunctory

Read more here.


Also, my 100 Favourites series continued with 2 more posts...


GoldenEye (1995)

Pierce Brosnan is Bond, James Bond, for the first time. After the almost-franchise-killing seriousness of Timothy Dalton, Brosnan nails Bond for the nostalgic ’90s: a dash of Sean Connery’s grit, a dash of Roger Moore’s raised-eyebrow humour, a whole lot of suaveness. For a while, the old “Connery or Moore?” question became “Connery, Moore or Brosnan?”

Read more here.


Gone with the Wind (1939)

It’s an epic in the truest sense of the word, with a story spanning many years and many miles, passing by historical events in the process. However, at it’s core it’s the story of a tumultuous romance between two people, who may love each other or may hate each other, but who, with their unique, selfish, manipulative perspectives, are surely perfect for each other.

Read more here.


More next Sunday.

Doctor Who: Earthshock

I should warn you, dear reader, that this review contains major spoilers for the 26-year-old Doctor Who story Earthshock; spoilers that are plastered all over the DVD cover and menus, and are the main reasons people still talk about the story. But still, in case you are in blissful ignorance and may ever see this story without stumbling upon a DVD or VHS cover, or indeed a basic plot description, I felt I should warn you.

There's a good deal to like about Earthshock -- hence why I chose it, of course. There's the fifth Doctor, who's one of my favourites (and now everyone's, I'm sure). His TARDIS may be a little over-crowded with three companions, but this story soon sorts that out -- hurrah, Adric dies! It's a fantastic mix of joy at the annoying little brat being gone and some sort of shock/sadness at the death of a companion. But it's much needed, really, as three companions is too many -- Nyssa basically stands around in the TARDIS doing sod all for four episodes. Two companions, on the other hand, is a great number, with Tegan and Adric having plenty to do. The new series should look into using this idea (dalliances with Mickey, Jack and now Martha aside). Of course, Nyssa and Tegan may get more to do now that Adric's dead (hurrah!).

Then there's the Cybermen, the series' best-ever villains (sod those bloody Daleks). In this case they may be (as the Doctor puts it) "positively flippant", but they still stomp around with a certain degree of shiny silver coolness. And they can go up stairs (as a certified Doctor Who fan I'm still allowed to make that joke -- casuals, newbies and proper journalists aren't). They get a cool reveal at the end of Part One, and cool robot minions before that, and their plan to destroy Earth with a freighter is pretty nifty too (even if the bomb-in-a-cave before it is a crap one), plus they get the honour of killing Adric. Adric dies, you know -- did I mention that? Also, any story that has the audacity to completely change its setting and most of the guest cast after an episode and a half has to be applauded, especially when it makes it work so smoothly.

Parts of Earthshock are irritating padding, it's true, and especially obvious on repeat viewings. But when you've got Beryl Reid's excellent space captain, a traditional traitor-who-falls-foul-of-his-masters (just like in Tomb), the Doctor's classic speech about emotions, and all sorts of other nice bits and pieces -- and Adric's death! -- it's quite hard not to find something to enjoy in almost every part of Earthshock.

Plus, Adric dies.

this week on 100 Films

The main news this week is that it's May (did you notice?), which can only mean it's time to look back at April. This month's top list: the five worst superhero movies. That I've seen.

As well as that, two new reviews were published to 100 Films in a Year this week, and they were...


Ip Man 2 (2010)

The only major downside comes when the Brits turn up for the final act. Stereotyped and poorly acted, presented with palpable jingoism and xenophobia, their presence and storyline drag the film down.

Read more here.


Ted (2012)

Family Guy’s stock in trade is two things: non-sequiturs, which Ted replaces with a plot; and an edgy, borderline-offensive sense of humour, which Ted retains, and in some cases pushes farther, unrestrained by the demands of US network TV.

Read more here.


And new to the new blog...


The Adventures of Sherlock Holmes (1939)

Rain-lashed, fog-drenched Victorian London streets! Brutal murders by foul foreigners! Dastardly plots against the crown! Galloping carriages! Romantic subplots! A smattering of comedy! A song-and-dance number! (No, really, there is.) And a final shoot out… in the Tower of London!

Read more here.


Harry Brown (2009)

Michael Caine killing hoodies... If that doesn’t get you excited about seeing this movie, then what kind of film fan are you? A mentally mature one, probably. But hush, don’t spoil our fun — those of us who may occasionally hanker for a morally simple form of voyeuristic vigilante justice want to see Sir Michael shooting yobs

Read more here.


The Hound of the Baskervilles (1939)

One of the novel’s strong points is its occasional Gothic styling, and this is something the film version does very well. Dartmoor looks fantastic, like something Tim Burton would have created were he working in the ’30s. It’s clearly a set, but it’s dramatic and moody and completely effective.

Read more here.


Sherlock Holmes in Washington (1943)

more a spy thriller than a traditional detective tale. That’s not to say Holmes’ abilities as a detective aren’t present, but if you switched him for a generic British Intelligence agent the plot would be unlikely to suffer and the dialogue probably wouldn’t need much work.

Read more here.


More next Sunday.

TV

Castle
3x07 Almost Famous
[Watch it (again) on Demand 5.]


Doctor Who
32x04 The Doctor's Wife [2nd watch]

By chance rather than design, #bbbDW50 includes one episode from each of the Eleventh Doctor's series. This episode from 2011 (my God, is it really 2½ years old?!) was hailed as an instant classic by so many -- in part, let's be perfectly honest, because of the hype surrounding its writer. I'm not saying it wouldn't have garnered such love if it had been by anyone else, but... well, it wouldn't have garnered such love, would it?

I didn't fall for it quite so deeply. In fact, I thought it was interesting and fine, but held back by the level of expectation and the consequent, shall we say, "squee"ing over it. (I hate the 'word' "squee", making it perfect for this occasion.) Returning to it for the first time in 2½ years (my God, is it really 2½ years old?!) allows a chance for personal reappraisal.

...but not much has changed. It's a very good episode, and the conceit is a great one, but it's not flawless. House is not as effective an enemy as it feels he/it was imagined to be, and Amy and Rory basically run around corridors just so they have something to do. Similarly, the Doctor and Idris seem to fly their makeshift TARDIS for ages, again in a move that feels time-killing.

Still, the bits that work do work really well, and ultimately it's that sky-high expectation and overreaction from some quarters that can leave the episode to feel underwhelming.


Friends
5x03 The One Hundredth [4th or so watch]


Never Mind the Buzzcocks
27x07 Episode 7
aka The One With Huey Morgan And The Mug.


The Newsroom
2x08 Election Night Part I
2x09 Election Night Part II [season finale]

Good in places, spectacularly mawkish in others. Apparently it is coming back, but this does have the feel of a series finale... while also leaving plenty of doors open.