Sunday, October 19, 2014

Doctor Who: Flatline

Honest to Pete, it’d be nice if this season could deliver just one truly awful installment, so as a recapper I could have a little fun tearing into the show for a week. (Somewhere out there someone’s saying, “Dude, you had your chance with “Robot of Sherwood” and you blew it.”) “Flatline” continues this unexpectedly wonderful season of Doctor Who by delivering an alien threat unlike anything the series has ever showcased. It simultaneously harkens back to Tom Baker’s swan song, “Logopolis,” in which the TARDIS shrank with the Doctor inside.

The episode demands attention from its opening sequence. A man places an emergency call, frantically babbling about “they” being “everywhere” only to disappear mid-sentence and reappear as a smeared painting on the wall behind where he was standing. The way the camera moves and tilts to reveal his face is like one of those street paintings that only comes into focus when you see it from a certain angle. Sure enough, “Flatline” centers on an alien invasion from a two-dimensional universe, and in ours their deadly handiwork ends up looking like street art – a bizarrely weird idea worthy of Moffat himself, but dreamed up by Jamie Mathieson, who also penned last week’s outing.

Read the rest of this recap by clicking here and visiting Vulture.

Friday, October 17, 2014

The Innocents: The Criterion Blu-ray review

[Note: Screengrabs are taken from the MGM DVD release.]

Two big budget studio ghost stories from the early sixties are cinematic siblings, a notion exacerbated by the fact that in both cases the ghosts may (or may not) be products of overactive imaginations. Those classic films are The Innocents and The Haunting. The latter seemingly steals most of the thunder from the former, but now that Criterion has stepped up to the plate, maybe The Innocents will get some long overdue kudos and love. Based on the 1898 novella The Turn of the Screw by Henry James, The Innocents borrows its title from a stage adaptation by William Archibald, who also worked on the screenplay. Director Jack Clayton wasn’t satisfied with Archibald’s work, so he turned to no less than Truman Capote, who whipped the script into shape, and created the blueprint from which Clayton eventually worked.


Deborah Kerr stars as spinster Miss Giddens, hired by a disinterested uncle (Michael Redgrave) as governess to orphans Miles (Martin Stephens) and Flora (Pamela Franklin, in her film debut) at his palatial but crumbling country estate, Bly. Though Bly’s grounds include a staff headed by housekeeper Mrs. Grose (Megs Jenkins), Giddens is firmly in charge of the children, and any decisions made about their welfare and well being are entirely in her hands. Giddens learns of the recent troubled history of the estate, namely the untimely deaths of the previous governess, Miss Jessel, and the uncle’s valet, Peter Quint (Peter Wyngarde). Soon enough, the visions begin. First Quint and then later Jessel torment Giddens, pushing her to the brink of sanity. The more she learns of the deceased, sexually deviant coupling, the more frenzied she becomes. Soon, Giddens is convinced the pair has evil, dastardly plans for the children, and she’ll go to any lengths to save them.


As to the possible existence of these ghosts, The Innocents is played so squarely down the middle that it really can go either way, and I don’t believe I’ve ever found it as ambiguous as I did upon viewing it via this new Criterion edition. This is to the film’s credit, because in the real world, we (well, most of us) don’t immediately believe someone who says they’ve seen a ghost. Those of us who do not give a season pass on our DVR to Ghost Hunters tend to be skeptical of such claims. The key to appreciating the movie on a level different than ghost story, I believe, is in the viewer’s ability to take Mrs. Grose seriously and not just write her off as a daft old woman who could never understand the supernatural. Because she’s the only other adult playing a major role in the proceedings, and as the movie never shows her as anything other than kindly and wise, her view of events must not only count, but is also crucial. And though Mrs. Grose is far too polite to ever say anything, she clearly believes Miss Giddens to be nucking futs.


I’ve experienced The Innocents on a couple previous formats over the years – official MGM laserdisc and DVD releases - and both were above average presentations, showcasing the movie with a clean print and in its proper Cinemascope 2.35:1 aspect ratio. And yet this Criterion Blu-ray with its spotless 4K transfer remains something of a revelation. This is the sort of movie Blu-ray was made for, as every monochrome frame of The Innocents is crammed with detail that can finally be pored over and analyzed in a home setting like never before. One even wonders if the movie looked this ideal in its original theatrical release.


Blu-ray Extras: Cultural historian Christopher Frayling pulls double duty here, with a 23-minute introduction, as well as helming the commentary track. Though there is a fair amount of overlap between the two, I have to give the guy some props: He’s engaging to listen to and seems to know more than anyone else about this movie; indeed, he may even know more than the people who created it. A new 19-minute interview features cinematographer John Bailey discussing Innocents DP extraordinaire Freddie Francis and his approach to the film and working relationship with Clayton. A relatively short piece (14 minutes) on the making of the film, entitled “Between Horror, Fear, and Beauty,” briefly features Francis himself, as well as editor Jim Clark and script supervisor Pamela Mann Francis. It’s a shame that someone didn’t (or wasn’t able to) round up Pamela Franklin and/or Martin Stephens for commentary as their POVs would seem invaluable to Innocents discussion. The disc also features the film’s trailer and the inner booklet offers up an essay entitled “Forbidden Games” by Maitland McDonagh. From an extras standpoint, not one of Criterion’s strongest showings, but as is nearly always the case with this company, the exceptional film presentation is the real star.


Sunday, October 12, 2014

Doctor Who: Mummy on the Orient Express

After last week’s episode, aspects of which seemingly half of Whoville had big problems accepting, it must be reassuring for disgruntled fans to get back to the basics with the far more plausible idea of an invisible mummy stalking people on a flying space train. What’s been so wonderful about this season so far is that no matter how outlandish the plots have been, the emotion-driven, personal aspects have been thoroughly down to earth and relatable. A communication breakdown – the inability for two people to understand each other’s position – must be one of the most common causes of emotional stress and pain, and Doctor Who is seemingly devoting an entire season to exploring it through the lens of the fantastic.

After Clara’s blowup, there was every reason to assume she might not feature in “Mummy,” and all of the publicity over the past week seemed to confirm that. Shrewd marketing BBC and BBC America folk, keeping Clara entirely out of the picture, right up until the episode aired and she stepped from the TARDIS alongside the Doctor, both dressed to the nines. Now that the cat’s out of the bag, can somebody please release some proper publicity shots of Jenna looking so magnificent and classy in her flapper garb? We want those to make memes out of to share back and forth on Facebook. The silver PJ’s were pretty keen, too. I should go ahead and say this if it isn’t already obvious: I am in companion love with Clara, which hasn’t happened for me since Rose Tyler (and long before her, Sarah Jane Smith). Companion love is potentially dangerous, because you become so invested in the fate of the character, that you begin finding it difficult to imagine the show without her, which is never a reasonable place to be as a Doctor Who fan.

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, October 05, 2014

Doctor Who: Kill the Moon

Doctor Who is no stranger to outrageous, unbelievable plots. One could even say the show has practically been built on them. “Kill the Moon” is cut from a cloth that emphasizes emotional wallop and wonder over hard science, and for some folks that could be a difficult hurdle to overcome. If you’re one of the yeahright people (as in “Yeeeaah, right!”), there’s a good chance this episode left you wanting something a little more grounded in reality. But if you’re a Doctor Who fan, and surely you must be or you wouldn’t be reading this, you’re used to suspending pachyderm-sized amounts of disbelief. If you can do that with “Kill the Moon,” it’s a dazzling foray into the beautiful, demanding, and strange, cobbled together around a thrilling sense of uncertainty.

Right off the bat it grabs the viewer with an utterly compelling pre-credits sequence. At first it seemed a function of the script to join the proceedings mid-adventure—as if we’ve been thrown into the middle of a real time episode: 45 minutes are on the countdown timer, Clara and her student Courtney are in the midst of something perilous, and the Doctor is nowhere to be found. Surely he’ll show up to save the day? We’ll find out soon enough that "Kill the Moon" isn’t nearly that predictable. Indeed, whatever criticisms one might have of the episode, predictability surely can’t be one of them (except for one thing, but we’ll come to that).

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, September 28, 2014

Doctor Who: The Caretaker

However you might react to “The Caretaker,” hopefully everyone will at least agree that, given the setup of the season so far, it’s a story that needed to be told, and halfway through the season seems a good time to tell it. We’ve been frustratingly teased with the Doctor/Clara/Danny triangle for the past four episodes, curious to know where it’s headed. Where opinions will differ, I imagine, is over the manner in which the story is told.

The bulk of the triangle’s tease has revolved around Clara’s deceptions, which crumble entirely in "The Caretaker," thanks to the Doctor covertly scheduling an alien invasion intervention in Miss Oswald’s backyard, Coal Hill Secondary School, and finally coming face to face with her boyfriend (and vice versa). One of the cheapest-looking aliens the new series has unveiled, the Skovox Blitzer is attracted to the area because of all the artron emissions, which were likely left by the Doctor himself since the TARDIS materializes and dematerializes at the school regularly, not to mention his numerous other visits to the area in his past lives. The invasion storyline is so rote and B-movie in scope that it must exist only to serve as a basic introduction for Danny to the world of Clara and the Doctor. In any case, the Doctor either hasn’t considered that he may actually be responsible for the alien’s presence, or he has and has chosen to take care of business and not mention that part (to Danny he outright denies it). Either is a real possibility with the Twelfth Doctor.

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, September 21, 2014

Doctor Who: Time Heist

Show of hands: Who else guessed the identity of the Architect as soon as the premise was thrown out there? It wasn’t that there were any particular clues, but with an episode that, per its title, involves time travel, and with X amount of characters on display early on, it seemed sort of obvious. But more detrimental to the perception of this episode is that it arrives on the heels of the groundbreaking “Listen,” which the internet quickly declared one of the best Doctor Who episodes, evah! (It was pretty brill.) Having said all of that, there’s plenty to dig about this episode, starting with Clara’s clothes dryer, and the Doctor being mesmerized by it, which strikes me as quite comical.

It’s that simple domesticity versus unimaginable adventures in time and space that fuels much of the Doctor/Clara dynamic right now. She’s perfectly happy at home, doing Clara things, such as going on a second date with Danny Pink. He’s bored traveling alone, enough so that staring into her dryer holds more revelations than visiting the Crab Nebula. So when the TARDIS phone rings and Clara hasn’t left for her date yet, of course he’ll answer it, at which point they’re instantly propelled into an adventure they know nothing about, alongside two people they do not recognize, Psi (Jonathan Bailey), a cyborg, and Saibra (Pippa Bennett -Warner), a shape-shifter whose look might be modeled on Grace Jones in A View to a Kill.

Read the rest of this recap by clicking here and visiting Vulture.

Thursday, September 18, 2014

The Zero Theorem

As someone who’s been a disciple of all things Terry Gilliam for the better part of 30 years, it seems pretty obvious that his most innovative filmmaking days are probably behind him. Those of us that continue to return to his well keep our expectations firmly in check. We don’t expect mind blowing Brazil-level satirical explorations, or profound science fiction trips such as 12 Monkeys, but we are happy to indulge our favorite mad uncle when he unveils something a little less groundbreaking, from somewhere in between, and that’s more or less what The Zero Theorem is.

Set in some nearby hazy nether-future – a grotesque exaggeration of our own reality – the film revolves around hypochondriacal misanthrope Qohen Leth (Christoph Waltz, looking like Bob Geldof after he shaved all his hair off in The Wall), a number-crunching programmer working for a soul-sucking mega-corporation called Mancom. He appears to be more than adept at his job, but awful at the rest of life. With virtually no social skills to speak of, Qohen (pronounced “Cohen”), when he isn’t at work, keeps himself holed up in a dilapidated mansion in a sketchy part of town, waiting for a mysterious phone call that he hopes will bring change. His sole desire is to be allowed to work from home, so he can be close to the phone and away from people.

Read the rest of this movie review by clicking here and visiting Bullz-Eye.

Tuesday, September 16, 2014

Doctor Who: Deep Breath Blu-ray review

Wait a minute! Wasn’t this just on my TV a few weeks ago!? Yes, the feature-length season premiere of Doctor Who, entitled “Deep Breath,” has already made its way to Blu-ray (and DVD), and to entice you into picking up a copy, the BBC has added a few nifty extras that we’ll get to shortly.

The 80-minute Victorian-set, steampunk infused adventure that properly introduced viewers to Peter Capaldi’s Twelfth Doctor has already been reviewed here at STARLOG by Matt Delhauer, who had mixed feelings about it, although I wrote a gushing recap over at Vulture, because I’m really rather in love with the whole thing.

The one caveat worth adding at this point is that “Deep Breath,” despite being the beginning of a new era of the series, is probably not a great place for newbies to start. It’s far too rooted in much of the lore set up over the past few seasons to make much sense to someone unfamiliar with the series in recent times. Therefore if you’re a budding Whovian, resist the urges to skip ahead blindly into Capaldi’s maiden voyage as the Doctor.

Read the rest of this Blu-ray review by clicking here and visiting STARLOG.

Sunday, September 14, 2014

Doctor Who: Listen

Part of the genius of Season Three’s benchmark “Blink” is how utterly standalone it is, which is why it’s often the go-to installment to show to newbies: The ride can be enjoyed with virtually no knowledge of the Who mythos. “Listen” comes from a different direction; our protagonists are front and center throughout the episode, and far more so than “Into the Dalek,” this feels like a proper introduction to the world of Danny Pink. Whereas “Blink” was about Sally Sparrow and angels that nobody had seen before, this is about the Doctor, Clara, Danny, and ghosts that nobody will ever see.

Perhaps the real difference between the two is where Steven Moffat is as a Doctor Who writer. Back in season three, he was a scribe for hire, likely eager to make another defining mark, but now he’s been the showrunner for five years. Moffat may no longer have any interest in telling a Who story that doesn’t involve the mythos he’s created or is in the process of creating. That’s not necessarily a bad thing as long he can occasionally churn out an episode this inventive. Surely one of the most unexpected, abstract episodes the series has produced since Moffat took over as head writer, “Listen” is the sort of fare that should have the torch-wielding villagers ceasing their charge…well, until the next episode, anyway. The show can’t tell stories like this each week, or everyone’s kids would end up in therapy.

Read the rest of this recap by clicking here and visiting Vulture.

Tuesday, September 09, 2014

Mark Gatiss: Robot of Sherwood Interview

Mark Gatiss writes and acts, and we could have an intense debate over which he does better. You’ve seen him onscreen in Game of Thrones as Tycho Nestoris, of the Iron Bank of Braavos, a role he’ll be reprising next year. Even more prominent is his ongoing stint as Mycroft Holmes, Sherlock’s devious brother in Sherlock, the series he not only writes for and stars in, but also co-created and co-produces with Steven Moffat. Yet we rang up Gatiss to chat about Doctor Who, Moffat’s other series, for which Gatiss wrote this past weekend’s episode, entitled “Robot of Sherwood.”


I had a great laugh — many laughs — watching “Robot of Sherwood.”

Oh, good!

As much as I love Doctor Who, I can’t say that it’s often that I have a big grin across my face through an episode.

The whole intention was to write a kind of romp, really. I’ve always loved the Errol Flynn movie. I love Robin Hood, actually, but that film particularly. To me, the essence of Robin Hood is that it’s a fairy tale. I’ve never had much patience for the muggy, grim versions because I think they’re missing the point, really [laughs]! So the chance to do Robin Hood meets Doctor Who was a bit irresistible.

Read the rest of my interview with Mark by clicking here and visiting Vulture.

Sunday, September 07, 2014

Doctor Who: Robot of Sherwood

Season Eight has been dark so far, but I don’t think I realized exactly how dark the first two episodes were until I started watching “Robot of Sherwood,” an episode which triggered a huge grin that refused to go away throughout the episode. And it was sort of a relief, because perhaps we needed to be reminded that this show is still capable of and not shy about making us laugh. This is no slight against all the other episodes, but I can’t recall the last time I had so much unbridled fun watching a new episode of Doctor Who. Here the Doctor declares he detests banter. Thankfully writer Mark Gatiss does not, because this episode overflows with witty repartee.

The series hasn’t had a celebrity historical for quite some time. Nothing in season seven unless you count Hugh Bonneville’s Henry Avery. Season six made a joke of Hitler and Nixon figured into its opening two-parter. But there arguably hasn’t been a proper one of these since “Vincent and the Doctor” way back in the fifth season. At that time, based on the strength of the material, I wondered if writer Richard Curtis had maybe “ruined” the format by making the definitive example of it, but here comes “Robot of Sherwood” to thankfully prove me wrong. Maybe the gimmick just needed a good rest, as there have been times when it felt positively strained (I’m looking at you “The Unicorn and the Wasp”).

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, August 31, 2014

Doctor Who: Into the Dalek

After 50 years of Dalek stories, it cannot be easy coming up with something that hasn’t been done before — something that can also be realized on the TV screen. Having exhausted our view of the Daleks from the outside, the show takes viewers inside of one, in an episode that is less about Daleks and more about soldiers and what the cost is for being one; pretty weighty fare by Doctor Who standards, to be sure, though the episode never takes it quite as far as it could’ve.

“Into the Dalek” begins in the middle of an epic space battle, inside the ship of Lieutenant Journey Blue (Zawe Ashton, easily the stand out guest star). Seconds before her death, the Doctor materializes the TARDIS around her, saving her from certain destruction. After threatening him, and the Doctor smooth talking her into saying please, the pair head for her nearby space station of origin, the Aristotle, where the Doctor’s disdain for the military is evident (“Dry your eyes, Journey Blue. Crying’s for civilians…how we communicate with you lot”). Finally, the hook: a war torn, battled-scarred Dalek that is hurt and in pain…yet has somehow miraculously turned “good” via its hatred for all things Dalek. Can the Doctor repair it, the crew wants to know? (It’s never explained whythey care.) One thing’s for sure: He can’t do it alone.

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, August 24, 2014

Doctor Who: Deep Breath

Since last we spoke, loyal readers, it’s been eight months of equal parts anticipation and dread. The former because it’s a new Doctor played by an enormously talented actor whose TV résumé dates all the way back to the time when Peter Davison was still playing the part. The latter because the head writer and lead creative mind on the show is still Steven Moffat, who last time we checked in with him at Christmas proved that even he can cock-up the end of an era that he spent four years shepherding. Would he actually be able to deliver on all of the promises he’s made in the intervening months that we’d be getting a new, reinvigorated version of Doctor Who?

With only one episode down, it’s impossible to answer that question, but based on this 80-minute opener, the future looks tight. To rework some classic dialogue from the Master, an entire season of this level of quality scarcely bears thinking about. Here we’ve been blessed with an episode of Doctor Who that feels like cinema. The scenes play out for four and five minutes at a time. The script isn’t in a rush to get to the end. The performances feel as though they’re building toward something fresh and new, rather than being built upon something that previously existed. The amount of quotable dialogue could make up its own recap. And yet it’s never, ever an “everything but the kitchen sink” type of affair. It has to be one of Moffat’s finest, most restrained and well thought out Who scripts.

Read the rest of this recap by clicking here and visiting Vulture.

Friday, August 22, 2014

Leviathan: Blu-ray review

In 1989, there were no less than three underwater sci-fi thrillers in cinemas, but only one truly made waves: James Cameron’s masterpiece The Abyss (seriously, a case can be made that it’s his best movie, even if it isn’t his highest grossing or the most popular). The other two films – Deep Star Six and Leviathan – were released prior to Cameron’s movie and failed to find much of a theatrical audience. Eventually, both films moved on to rest comfortably on many a video store shelf, where they found viewers looking for a Friday night distraction. And while Deep Star Six has never really received a decent home video release here in the States, Scream Factory has stepped up to the plate to deliver a nice little Blu-ray of Leviathan.

Set miles below the surface in an underwater mining station, Leviathan tells the story of workers who discover a sunken Russian ship (named ‘Leviathan’), and inadvertently bring aboard an alien evil residing in its bowels. One by one, it begins to pick them off, yet death is not quite the final word for this motley crew. As you might surmise, Leviathan is short on originality, shamelessly cribbing from Alien, Aliens and Carpenter’s remake of The Thing. Curiously enough, aside from its setting, Leviathan bears almost no resemblance to The Abyss.

Read the rest of this Blu-ray review by clicking here and visiting STARLOG.

Thursday, July 31, 2014

Twin Peaks: The Entire Mystery Blu-ray review

With the steady, ongoing rise of streaming media, encyclopedic TV-on-Disc collections are heading the way of the dodo bird. So when a classy Blu-ray box set such as Twin Peaks: The Entire Mystery hits the market, it’s worthy of celebration. Peaks, with its modest number of installments (30 episodes, two of which are movie-length), is the perfect show to which extra-special treatment should be given, especially in light of its cult following—which, ironically, has increased over recent years thanks to the series’ availability on streaming.

As with the Peaks Gold Box DVD collection from 2007, content producer Charles de Lauzirika is the man that should be celebrated here. Among de Lauzirika’s other home video credits are The Alien Quadrilogy and Blade Runner: The Final Cut, so the guy knows what fans want and this Blu-ray is no exception. But before moving on to the fine collection de Lauzirika has assembled, let’s talk Peaks for a bit.

Read the rest of this Blu-ray review by clicking here and visiting Starlog.

Wednesday, July 23, 2014

Scanners: The Criterion Blu-ray / DVD Combo review

It’s difficult to calculate the exact influence the work of David Cronenberg has had on sci-fi film and what the genre might be like without him. His work, or at least the first half of his career, so squarely belongs to Cronenberg that it’s entirely possible his absence wouldn’t make a big difference at all, as nobody can do Cronenberg like Cronenberg. Even Cronenberg arguably had a tough time of conveying his specific brand of sci-fi by the time he got to eXistenZ in 1999, which to date remains his last completely original screenplay.

But a new Criterion release demands that we travel all the way back to 1981, when American audiences were considerably less familiar with the Canadian filmmaker. Despite having made a half a dozen features prior to it, Scanners was the movie that put Cronenberg on everyone’s radar, and it blew their minds…


Read the rest of this review by clicking here and visiting STARLOG.

Tuesday, June 17, 2014

Picnic at Hanging Rock: The Criterion Blu-ray / DVD Combo review

Back when I first saw 1975’s Picnic at Hanging Rock in the mid ‘90s, we didn’t have the internet. And the Criterion laserdisc I owned (one of the very last Criterion laserdisc releases) was bare bones, so beyond the film itself, there was no information on it. If memory serves me correctly, for some time I believed it to be based on a true story, and the movie’s opening intro, coupled with its mission to not answer its central mystery, might lead anyone to believe that it is. It just seemed like a highly artistic interpretation of real events. And it still does today, though via this brand new Criterion edition, decked with numerous bells and whistles, it’s easier to discover the truth, which is that Picnic at Hanging Rock was based on a fictitious novel by a lady named Joan Lindsay – a paperback copy of which is included in this set.

Hanging Rock - from a distance
The story at first revolves around a girl’s school in Victoria, Australia, in 1900, and the students’ St. Valentine’s Day outing to the imposing volcanic monument, Hanging Rock (which is a very real place). Upon arrival, quiet weirdness abounds, and after several lazy, dreamlike hours, three of the girls and one of the teachers have gone missing. The second half of the film studies the effects the disappearances have on not only the school, but also the nearby town and its variety of residents. It is, after all, a small town at the turn of the century where people do not just disappear.

Mrs. Appleyard passive-aggressively terrorizes Sara
The movie is crammed with ideas, thoughts, and feelings, expressed through an intricate, restrained drawing of its numerous characters, with the repression of the time period leading to people unable to properly communicate their fears, hopes, and desires. Mrs. Appleyard (Rachel Roberts), the severe, imposing school headmistress, takes out her frustrations on the awkward student, Sara (Margaret Nelson), while the much younger and more vibrant Mademoiselle de Poitiers (Helen Morse) is wracked with guilt over her inaction the day of the picnic. The befuddled Sgt. Bumpher (Wyn Roberts), who leads the investigation and search party to find the missing, continually finds himself at a loss for words (his position, coupled with his resemblance to Graham Chapman, leads to a frequent expectation for him to finally break out with an “All right! All right! All right!”).

Michael and Albert spy the schoolgirls headed for the rock
The privileged young English boy Michael Fitzhubert (Dominic Guard, who, for my Whovian brethren, played Olvir in “Terminus”) is haunted by the disappearances more than anyone else, and he makes it his mission to find out what happened, regardless of the potential cost to his own well being. By contrast, his blue collar Aussie acquaintance, Albert (a young John Jarratt, the bad guy of Wolf Creek), is haunted by his own past, and has closer ties to the school than he could ever know. Not every struggle in Hanging Rock is caused by the mystery, yet they often appear to be reflected in it.

Anne-Louise Lambert as Miranda
What is perhaps most absorbing about Hanging Rock is not the characters we spend time with throughout the entire film, but rather the missing girls, led by the luminescent Miranda (Anne-Louise Lambert), and their intellectual math instructor, Miss Greta McCraw (Vivean Gray) – all of whom cast a potent spell in the 40 or so minutes of screentime they have. Lambert is a cinematic angel, and her visage haunts the movie long after she’s gone, just as it does the viewer after the credits roll. But these days Gray’s McCraw is my favorite. The steely, calculating teacher, enlightened with a knowledge of the world that Bill Nye and Neil deGrasse Tyson would appreciate, appears to be living out of time and place. McCraw hypnotizes, not least because the movie dishes even less on her disappearance than the others. The film strongly suggests that the rock awakens something primal and perhaps even sexual in these women – something they were unable to tap into or unleash in the society they had grown up a part of, but that the rock opened, and they found inviting.

Mlle. de Poitiers (l) and Miss McCraw (r)
Yet those assertions are more my interpretation than anything else. Picnic at Hanging Rock should mean something different for each viewer. It’s that kind of movie, and the open-ended narrative is the lack of punctuation on an unfinished sentence. It’s an exercise in mood and sound (the music ranges from classical works to Zamfir’s pan flute to evocative original compositions), and most certainly stunning cinematography by Russell Boyd. Though it was not director Peter Weir’s debut film, it was the one that introduced his considerable talents to the world. Weir has since gone on to helm some truly incredible films over the course of his long career, though there’s not a one of them I wouldn’t put up against Hanging Rock just to demonstrate how strong the movie really is.

Lastly, keep an eye out for a very young Jacki Weaver (Animal Kingdom, Silver Linings Playbook), who receives theatrical billing much higher on the marquee than her character - an amorous maid working at the school – demands. Off the cuff: Anyone else often find themselves playing games of “Is that Jacki Weaver or Sally Struthers?”

   

Blu-ray/DVD Extras: Picnic at Hanging Rock arrives in a dual format combo single Blu-ray/ two DVD set, which is a recent Criterion experiment that apparently, as of last Friday’s announcement, will be halted come September. Bit of a shame, really. I can see how DVD consumers would have issues with the price increase, but Blu-ray enthusiasts that “didn’t like making room for DVDs they didn’t want” just smacks of the oft-ridiculed first world problems. As a Blu-ray freak, I am always happy to get a free DVD with my purchase, Criterion or not, so I didn’t even really have time to warm up to this new presentation before it was dispensed with. In any case, the movie looks jaw-droppingly gorgeous and the 5.1 surround track more than gets the job done. Weir uses both pictures and sound to weave his tapestry, and both are surely tighter here than on any previous Region A/1 release. 

At the top of this piece I mentioned the Criterion laserdisc. It was followed by a bare bones DVD edition in 1999, and now, 15 years later, we have this hulking combo set that includes the paperback novel. Seriously, when the package arrived, I thought there were two movies enclosed. After all this time, Criterion rectifies those previous meager presentations with a host of lovingly prepared goodies.

Extras kick off with a 10-minute introduction by film scholar David Thomson, which is followed by an enlightening 25-minute interview with Weir - a welcome inclusion, as he meditates and dishes on all things Hanging. Likewise, “Everything Begins and Ends” is a 30-minute doc featuring interviews with producers Hal and Jim McElroy, exec producer Patricia Lovell, DP Russell Boyd, and cast members Anne-Louise Lambert and Helen Morse. At first glance it would be easy to take this disc to task for not featuring a commentary track, but between the Weir interview and the doc, there’s really no need for one as plenty of ground is covered, and Hanging Rock is not the kind of movie that viewers should be walked through scene by scene anyway. 

Additionally, there’s a theatrical trailer, and 26-minute period doc from ’75 entitled “A Recollection…Hanging Rock 1900,” much of which is shot at Hanging Rock, including further interviews with Joan Lindsay, Dominic Guard, Weir, and others. Lastly, on the video side of things, there’s a 50-minute black and white short film called Homesdale. It was this movie that led exec producer Lovell to hire Weir to helm Hanging Rock, though why that is remains yet another mystery, as the tone, feel and subject matter of the short isn’t much like the feature film. Even Weir seems puzzled by the fact in the interview piece. (Frankly, Homesdale is such an oddball piece, its weirdness makes Hanging Rock seem pretty straightforward by comparison – perhaps therein lies the answer.) 

In addition to the Lindsay paperback, this edition includes a beautiful 28-page inner booklet, laced with stills from the movie, and featuring a new essay by author Megan Abbott entitled “What We See and What We Seem,” as well as an excerpted piece from a 1996 book on Weir, by Marek Haltof, entitled “Peter Weir and the Australian New Wave Cinema.”

All screengrabs in this piece were taken from the DVD.




Wednesday, June 11, 2014

Live and Let Die

Pimpmobiles. Alligators. A trip through Harlem. Voodoo. Cigars. Blaxploitation. George Martin. Bourbon and water. Tarot Cards. Snakes. The City of New Orleans. Paul McCartney and Wings.

“That’s just as bad as listening to the Beatles without earmuffs.” – 007 in Goldfinger

Somebody’s out to prove Roger Moore ain’t your daddy’s James Bond.

On the calendar, 007 entered the ‘70s with Sean Connery’s last official entry, Diamonds are Forever, but it wasn’t until two years later in 1973 that the shift of the decade really affected cinema’s most popular secret agent.

The Plot: Three MI6 agents are killed – one each in New York, New Orleans, and the fictitious Caribbean island of San Monique. M (Bernard Lee) assigns Bond (Moore) to the case. He follows the trail of bodies, only to discover an elaborate heroin producing, smuggling and selling operation, masterminded by the ruthless San Monique dictator Kananga (Yaphet Kotto), who operates under heavy makeup stateside as Mr. Big, where the goods are dispersed through a chain of soul food restaurant/bars called Fillet of Soul. But faux voodoo and mysticism surround Bond from the word go, as does the hypnotic spell cast over him by Kananga’s delicately beautiful reader of cards and seer of visions, Solitaire (Jane Seymour).

The Girls: Nabbing the role of lead Bond girl must seem exciting for an unknown actress, but as has been proven repeatedly, it rarely leads to a big time career. Seymour is one of a handful of actresses to buck that trend and with good reason: Solitaire ranks high on the list of Bond’s classiest ladies, and her story is arguably the heart of the picture. The character isn’t necessarily written with a huge amount of depth, yet that very simplicity makes her complex. In a movie full of charlatanistic voodoo, she stands out as the lone figure possessing the psychic ability to see into the future. Additionally, she differs from the Bond girl flock by sporting ornate, body-covering costumes that contrast with the oft-expected “Bond girl in a bikini” mold. And she’s a virgin, until James enters her, um, life.

Read the rest by clicking here and visiting Bullz-Eye.

Monday, June 09, 2014

An Adventure in Space and Time: Blu-ray / DVD review

There is no reason why anyone should ever have made a movie about William Hartnell. From today’s vantage point he was a relatively obscure actor who, up until the end of his career, was best known for playing drill sergeants and thugs in a variety of English pictures and series that are hardly even talked about today. Before the winter of 1963, perhaps his closest brushes with true fame included working with Peter Sellers in a couple of his early pictures (The Mouse That Roared and Heavens Above!), and a sizable role in the Lindsay Anderson-directed Richard Harris vehicle This Sporting Life

But everything would soon change for Hartnell, when that last picture, released in January of ‘63, brought him to the attention of up and coming BBC TV producer Verity Lambert, who was searching for a lead actor for a new science fiction series she was helming. He was cast, and 50 years later we have this TV movie, An Adventure in Space and Time, which tells the story of the most exciting – and tragic – stretch of his career.

Though Hartnell is central to the goings-on, the movie, of course, really traces the birth of Doctor Who. Yet when I met director Terry McDonough (Breaking Bad) at a BBC America event last summer, he told me point blank that the theme of the movie was “No one’s irreplaceable,” a sentiment that, it could be argued, has practically become anthemic for the Doctor Who brand over the years. The moment a new actor is cast in the central role, people immediately begin bombarding him with the question, “How long do you intend to stay?” The thrill of meeting a new Doctor is a powerful force indeed. The idea has bled over into other franchises and media as well. In the worlds of comic book and science fiction/fantasy movies and series especially, it’s now the norm. Don’t care for Ben Affleck as Batman? Don’t worry, in a few years there will be another one that you might like better.

But few concepts have been able to make that transitional process as part and parcel of their ongoing storyline as Doctor Who has, which is only one of the many things that makes it the unique creature that it’s become. Adventure sketches the origins of that uniqueness, and gives viewers a behind the scenes peek into a process that for many is as much a mystery as the Time Lord himself. And for those of us who are familiar with the nuts and bolts of the genesis of Doctor Who? The movie must surely be a dream come true. I’m enamored enough with it I can easily see it becoming a yearly ritual.

Brian Cox as Sydney Newman
If success has many fathers, An Adventure in Space and Time suggests that Who had no less than a half a dozen. To whom should ultimate credit for the series be given? Perhaps Sydney Newman, the brash Canadian BBC TV exec who initially came up with the basic idea? Or Lambert, the determined young producer that took Newman’s ideas and turned them into ratings gold? What about Ron Grainer, who wrote the iconic theme tune, or, even more so, Delia Derbyshire, who pulled a Lambert with Grainer’s composition? Would Lambert have been able to make any of it happen without the equally wet behind the ears director Waris Hussein, who brought all of the elements  together in that mesmerizing first episode? Can anyone ever discount Terry Nation’s creation of the Daleks, which ensured the success of the series (and that’s to say nothing of Ray Cusick’s iconic Dalek design)? And surely Hartnell played an enormous part in making Doctor Who such a massive success. He believed in the power of the series and stuck with it - despite his ailing health and the toll the rigorous production schedule was taking on him - even after Lambert, Hussein, and all of his co-stars had moved on. 

The very best television is the result of a magical alchemy, and the whole of Doctor Who may be the most perfect example of that in the history of the medium. The series may have ultimately become the epic, ongoing story of one Time Lord, but as has been proven time and again over the last 50 years, the concept stretches way beyond any one person, and it seemingly, as Peter Capaldi said last year, “belongs to all of us.”

Sacha Dhawan and Jessica Raine
But Adventure is squarely focused on that first core group of people, and the struggles they went through while laying all that groundwork. Initially, the movie belongs to Lambert (Jessica Raine of Call the Midwife and Who’s own “Hide”), and her ongoing efforts to get the series off the ground. Hired by Newman (a pitch perfect Brian Cox, who brings equal parts of humor and menace to the proceedings) to expand on his raw concept, she immediately finds herself talked down to by the more experienced men surrounding her. As the first female producer (who’s also Jewish) working at the BBC, the job clearly won’t be a simple one, and she runs into sexist attitudes right and left. She soon finds a kindred spirit in Hussein (Sacha Dhawan), the first Indian director (who’s also gay) at the BBC, and the movie credits their collective, bold ingenuity as the truest spark behind the concept. The debate has raged harder than ever in recent years as to whether or not the Doctor should be played by a woman. Doctor Who doesn’t need a woman in the central role. What it needs is another female showrunner, and it’s nothing short of preposterous that a woman was the first, yet there hasn’t been one since.

David Bradley as William Hartnell
As the movie moves forward, its emphasis subtly changes from Lambert’s struggles to those of the show’s leading man, brought to cantankerous life by David Bradley (who’s getting more high profile work in his 70s than at any other point in his career, and deservedly so). What is probably Adventure’s boldest stroke is its depiction of Hartnell as an extremely difficult and often unlikeable man - bold not because he wasn’t either of those things, but because by most counts he was, and the movie doesn’t aim to whitewash such facts. But the movie also shows the effect that Doctor Who had on Hartnell - how it softened him as a person, and gave him a renewed sense of self. In the end, Hartnell wins the viewer’s sympathy as his memory takes a sharp decline due to arteriosclerosis, and he is gently let go from the greatest job of his career. Bradley may not sound like Hartnell, and he’s roughly 15 years older than Hartnell was at this time of his life, yet he remains ideal casting, as he forms a movie version of Hartnell that is nigh impossible to shake once the credits roll. This is precisely the type of performance an Emmy nomination is made of.

The movie itself feels designed to appeal to non-Who fans as well as the fanatics (though for the fanatic, it is crammed wall to wall with Easter Eggs of all shapes and sizes, lending it a serious multiple viewings factor). On this most recent viewing I was struck by the film’s similarities to Mad Men (and no doubt, the BBC’s own The Hour). It fetishizes the 60s in a similar fashion to the AMC series, and its attention to detail feels cut from the same cloth. (The cigarette smoking is off the charts.) Further, the movie tackles some of the same themes as the early seasons of Mad Men. If you know a Mad Men fan going through withdrawals, you might just want to sit them down for this one. 

If there’s anything to take Adventure to task for, it’s that it falls prey to some of the same sort of compositing issues that nearly every biopic ever made seems to suffer from. So if this manner of scripting is part and parcel of the biopic format, can we really hold it against the movie? Does Adventure need to tell the story of the birth of Who and rewrite the biopic as well? Probably not. Indeed, I’d be nitpicking what’s likely the greatest, most efficient script of Mark Gatiss’s career. He’s apparently been trying to get this picture off the ground since at least the show’s 40th anniversary (if not before that), so he’s had plenty of time to hone the vision.

An Adventure in Space and Time was the underdog presentation of Doctor Who’s 50th Anniversary. Here in the States it was quietly nestled into the Friday night schedule with considerably less fanfare than its bigger brother, “The Day of the Doctor.” But it is an equally important story and one that I am so charmed by that I now want to see behind the scenes movies made of some of the other eras of the series, as well. The Colin Baker movie would blow people away.


DVD/Blu-ray Extras: We are very lucky here in the States to have this killer, three disc release of An Adventure in Space and Time. (At the time of writing, the movie has not been released on Blu-ray in the U.K.) This set includes one Blu-ray and one DVD which both feature identical programming, and then a second DVD with an entire classic series serial and some other swank extras.

Aside from the feature presentation, the Adventure Blu-ray and DVD each have several short featurettes and goodies. “William Hartnell: The Original” (5:16) is a brief examination of the man himself, including interviews with some of those who worked with and knew him, as well as a few bits of that amazing, recently discovered interview with Hartnell that was featured in its entirety on last year’s “The Tenth Planet” DVD. There is a “making-of” (11:24) hosted by Carole Ann Ford. “Reconstructions” (6:34) are scenes of classic Doctor Who that were recreated for use in the movie (some are in black and white, and some are in color). These are so perfect in production and execution one wishes that Bradley and company could be used to remake all the missing episodes. “The Title Sequence” (1:24) feels rather pointless as it is simply the movie’s credits sequence played again. Finally there are two short deleted scenes that total 1:33, the best one of which features Delia Derbyshire working on the theme tune.

The third disc here is a repressing of the first disc of the previously released “The Beginning” DVD box set. It features the entire four-part “An Unearthly Child” serial, as well as the original pilot episode that Sydney Newman so memorably loathes in Adventure. The pilot is frequently technically awful, yet the material manages to remain engaging. Watching it, it’s easy to see why Newman’s reaction to it might’ve been precisely as shown in the film: “I should fire both of you, but instead I want you to do it one more time” (bit of paraphrasing there). I remain amazed that with all of the episodes of Doctor Who that remain missing, not only do we have all of “Child,” but that this pilot is still around, too! Beyond the five episodes, the disc also carries over all of its original extras, which include four very funny comedy sketches, starring a host of familiar faces, which total around 15 minutes or so, a title sequence music video (2:36), a photo gallery (6:03), and commentary tracks for “An Unearthly Child” Episodes One (Gary Russell moderating Verity Lambert, William Russell and Carole Ann Ford) and Four (Russell moderating Russell, Ford and Waris Hussein), as well as one for the pilot episode (with Gary Russell moderating Lambert and Hussein).  



Friday, May 30, 2014

Ravenous: Blu-ray review

Once upon a time the big movie studios would occasionally make a risky film - sometimes with a bunch of money, and other times with just a little bit. Either way, it was an artistic gamble, and sometimes it would pay off, and other times it wouldn’t. This never seems to happen anymore, where all such choices are made only after myriad polls, research, and analysis, rather than from the gut. These days the risky fare is showing up on TV in the forms of shows like Hannibal (as perfect an example as any for this particular review). I’ve always wanted to meet and shake the hand of the Fox exec[1] who greenlit Ravenous - a period black comedy-horror western about cannibalism, in which the central character, Captain John Boyd (Guy Pearce), doesn’t even speak a complete sentence for the first half hour. 

The modestly budgeted film ($12 million) tanked something fierce upon its release in spring of ‘99. Despite opening on over a thousand screens, its B.O. take was only around $2 million. But, as many movies of quality do, Ravenous lived to see better days, and over the years amassed a pretty hardcore cult following (undoubtedly aided by the increasing popularity of its two stars, Pearce and Robert Carlyle).

In the midst of the Mexican-American War circa 1847, Boyd, having been branded a coward by General Slauson (John Spencer), is sent to Fort Spencer in the remote, wintry Sierra Nevadas, where nothing ever happens. The Fort is staffed by a motley collection of military misfits played by Jeffrey Jones, Neal McDonough, Jeremy Davies, David Arquette, and Stephen Spinella, as well as a pair of Native siblings, amusingly named George (Joseph Runningfox) and Martha (Sheila Tousey, the only female in the picture). The trend of isolated boredom is bucked by the arrival of the mysterious Mr. Colqhoun (Carlyle). Starving and near death, he tells a tale of survival involving Colonel Ives – a member of his party who resorted to cannibalizing the rest of the expedition when the food ran out.

And little more should be said about the plot to the uninitiated. Knowing much else about Ravenous would spoil its manic twists and turns. The script’s unpredictability is one of the film’s numerous strong attributes. Despite its gruesome, graphic depictions of humans dining on each other’s flesh, the film has been called by many (including yours truly) a vampire movie in disguise. There are aspects of its story that echo the relationship of Louis and Lestat in Interview with the Vampire, yet on this viewing I found myself not wanting to acknowledge the vampiric parallels – as if they might somehow take away from the uniqueness of the movie, which actually bases its extensive chowdown on the Algonquian Wendigo myth. Maybe back in ’99 we needed to make such connections and conditions in order to accept a movie that revolves around such an unsettling topic, but today we’re living in a world in which a network series like Hannibal has been granted a third season. There’s no longer any reason to romanticize or qualify Ravenous to those who aren’t in the know, for if you’ve dined on Hannibal for thirteen weeks straight, this 100-minute movie should be a walk in the park (albeit a pretty twisted park).

Behind the lens, Ravenous was directed by the late Antonia Bird, a last minute replacement after the film’s original director, Milcho Manchevski, parted ways with the production after shooting began. Bird was brought onboard at the insistence of Carlyle who’d worked with her on two previous pictures, Priest and Face. Though Priest ruffled a few feathers upon its 1994 release, and met with a fair amount of acclaim, it might still be fair to say that Ravenous will be the movie for which she’ll ultimately be most remembered. The moody cinematography was accomplished by Anthony B. Richmond, and while recent credits of his aren’t particularly impressive, he once upon a time helped give a number of Nicolas Roeg movies - such as Don’t Look Now and The Man Who Fell to Earth - their distinctive looks. The screenplay was the debut of Ted Griffin, who’d go on to co-create another hailed concept that failed to find an audience, the recent one-season FX TV wonder, Terriers.

But perhaps the most exceptional layer of Ravenous is its score. I’ve often heard it said that the best movie scores are the ones you don’t notice, an assertion I take great issue with. To me, the best scores are the ones that stick in your mind – hopefully along with the rest of the picture – for weeks after having experienced them. Michael Nyman had created many such scores for the films of Peter Greenaway, though perhaps his most famous score was for Jane Campion’s The Piano. Here Nyman is, curiously, paired with Damon Albarn, who is nowadays best known as the mad genius behind Gorillaz. Together (or rather apart; they allegedly made their contributions separately), Nyman and Albarn composed and created a work that stands on its own, ranging from quirky tonal sounds to full on majestic orchestrations. The now out of print Ravenous soundtrack goes for pretty big dollars these days, which itself is something of a testament to its quality. Let the menu screen of this disc spin for a while in the background, and the central theme will undoubtedly hypnotize you.



The print used for this Blu-ray had some noticeable dirt on it, but after a bit it either disappeared or, caught up in the movie and I was, I ceased to notice it. While nobody will ever accuse Ravenous of having a varied color palette, the movie looks fair here, but not stellar; inconsistent would probably be the best word to describe it. The 5.1 DTS-HD audio track fares considerably better, in all the right places.

Blu-ray Extras: The very best DVD/Blu-ray extras are often produced years after the movie itself, once the actors and/or crew have gained some perspective on the proceedings, or when there’s no longer any danger of offending co-workers or executives or what have you. This Scream Factory Blu-ray offers up a recently shot 20-minute interview with Jeffrey Jones entitled “The Ravenous Tales of Colonel Hart,” in which he, as a history buff, discusses the implications of manifest destiny as presented in the picture and candidly dishes on the firing of Manchevski and the hiring of Bird. For the Ravenous buff, this is outstanding stuff and a welcome inclusion.

The rest of the extras are, I believe, all ported over from the original DVD release. There are three, count ‘em three, commentary tracks: Bird and Albarn, Griffin and Jones, and finally Carlyle flying solo. There are also deleted scenes with optional commentary by Bird, a theatrical trailer and TV spots, and two galleries of stills detailing the costume and production design. As with many Shout/Scream discs, the artwork can be flipped over to reveal an alternate cover that matches the original Ravenous movie poster art (pictured).


[1] While I can’t find a definitive answer, it appears that the late Laura Ziskin, who headed the arm of Fox (Fox 2000) that produced Ravenous, may have been the culprit.

Portions of this review were lifted from an earlier Rued Morgue article entitled Five Great Movies You May Not Have Seen...But Should.

Screenshots were taken from Vagebond's Movie Screenshots.