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Doctor Who: The Curse of Fenric – Special Edition (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Curse of Fenric originally aired in 1989. The special edition cut of the episode was released on DVD in 2003.

I’ve said it a lot over this past year, but you really have to be incredibly grateful for the wonderful team behind the classic Doctor Who DVD releases. Not only do they loving restore classic adventures that might be forgotten to the ages, and not only do they packages the episodes with buckets of in-depth and lovingly-made featurettes, but they also occasionally revisit classic serials to bring them up-to-date, or to move them more in line with the director or writer’s artistic vision. Sure, some of these “special editions” occur in the most random of places (Planet of Fire, anyone?) or simply to remove a few technical impairments holding a story back from being an entertaining romp (as in Day of the Daleks), but occasionally they do something more substantial. In this instance, they make a great adventure into something truly spectacular.

This is not a drill…

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Non-Review Review: The Secret Life of Walter Mitty (2013)

Ben Stiller recently explained that he was growing more interested in directing and less interested in acting in front of the camera. Even if he hadn’t confessed that in an interview, it would be hard to shake that feeling while watching The Secret Life of Walter Mitty. It’s beautifully shot and contains a number of impressive sequences and set pieces, but ultimately feels a little hollow – like a beautifully-sketched picture inhabited by two-dimensional characters.

There are moments of splendor and beauty to be found in The Secret Life of Walter Mitty, but often in spite Steve Conrad’s script rather than because of it.

Daydream believer...

Daydream believer…

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Doctor Who: The Twin Dilemma (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Twin Dilemma originally aired in 1984.

Whatever else happens, I am the Doctor, whether you like it or not. 

– the perfect sentiment on which to enter a nine-month gap

Some mistakes only seem obvious in hindsight. Some errors are easy to judge with the weight of experience and history behind you. Some calls are easy to dismiss and ridicule retroactively, completely divorced from the context in which they were made.

Of course, some mistakes should have been blindingly obvious when they were made in the first place.

Go on, guess which one The Twin Dilemma was.

Hardly a moment of triumph...

Hardly a moment of triumph…

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Jameson Cult Film Club: Predator

I had the privilege of attending last Tuesday evening’s Jameson Cult Film Club screening of Predator. It’s easy to take for granted the care a preparation that goes into these nights celebrating popular classic films, but the crew pulled out all of the usual stops for the evening, turning their city centre into something of a jungle. From improvised death traps (within health and safety regulations, of course) through to advice on movie etiquette translated from… whatever that noise is that Predator’s make, the evening was a fitting tribute to an eighties cult classic.

Again, the production team walked the line, balancing the need for spectacle carefully against the integrity of the film. Predator is a loud film by its nature, and the special effects on the location were well-chosen to turn the volumes up to eleven. The pyrotechnics display during the movie’s climax was just astounding, as were brief interludes of the Predator itself preparing for battle or cleaning up after one.

The guys at Jameson Cult Film have sent over some snapshots of the night. Check them out below and click to enlarge. In the meantime, feel free to register at their website for free tickets to their next event, which I am already looking forward to.

EK4G0958 Continue reading

Doctor Who: The Long Game (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Long Game originally aired in 2005.

No, no, you stick with the Doctor. You’d rather be with him. It’s going to take a better man than me to get between you two.

– Adam outlines another reason he had to get kicked out of the TARDIS

The Long Game is a breathtakingly ambitious piece of Doctor Who, for a variety of reasons. The most obvious is the fact that it’s basically Russell T. Davies pushing through a story idea that Andrew Cartmel rejected when he pitched it to the classic show in the eighties, but there are a whole bunch of other reasons. The Long Game is trying to do so many things at once that it ends up getting a little lost. However, it does serve as an example of what Davies was really trying to do with this first season of the revived Doctor Who.

On the surface, The Long Game a clever and daring piece of science-fiction television, a piece of social commentary hidden behind funny-looking aliens and scenery-chewing villains. It’s really a spiritual successor to the science-fiction stories of the Cartmel era. However, it’s also something else entirely. It’s a conscious embrace of the new realities of television, an acknowledgement that these trappings have be blended with character-based storytelling and more modern tea-time telly conventions.

After all, for a show about the manipulation of the media to corrupt the public consciousness, the teaser doesn’t end on a monster reveal or a shocking twist, but a pithy personal comment. “He’s your boyfriend.”

Body of work...

Body of work…

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Doctor Who: The Day of the Doctor (Review)

Waste no more time arguing about what a good man should be. Be one.

– Clara sums up the Moffat era in a nutshell

The Day of the Doctor was a suitable anniversary celebration for Doctor Who, feeling like Moffat had borrowed more from The Three Doctors than The Five Doctors in piecing it together, allowing for multi-Doctor interaction grafted over a fairly generic Pertwee-era alien invasion tale. (“Not now!” the Eleventh Doctor protests as the multi-Doctor tale intrudes on his paintings mystery. “I’m busy!”) In terms of scale and spectacle, The Day of the Doctor falls a little bit short. While it looks lavish and clearly had more than a little bit of money thrown at it, the episode lacks a strong central narrative thread.

Instead, it serves as a meditation on who the Doctor is and what that means in the grand scheme of things – looking at the tapestry of his life and character, and trying to reconcile everything that the show was and ever could be. It’s the story of the War Doctor in the Time War, of the death of the classic show and the birth of the new, suggesting that the rift left by the cancellation can finally be healed, that the bridge can be crossed and that wounds might finally be closed.

Well, most of them, anyway.

doctorwho-thedayofthedoctor11

The Three Doctors…

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Non-Review Review: The Hunger Games – Catching Fire

The Hunger Games: Catching Fire suffers from a problem comic to the second story in planned trilogies. It lacks its own clear arc or structure, instead serving as a little more (or perhaps a little less) than half a film. There’s no conclusion or resolution here, just a lot dangling plot threads and insinuations – the suggestion of a larger and grander conflict looming on the horizon that might offer some measure of closure.

While it improves on quite a few flaws from the first film, it ultimately feels rather hollow; like an extended trailer for The Hunger Games: Mockingjay.

Hungry for more?

Hungry for more?

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Non-Review Review: The Family

I can’t tell you what The Family is. Not because of omerta or anything as cliché as that, but because it seems like The Family itself doesn’t know. I can describe what happens in the film, taking you through the events as they unfold on screen. I can describe the set-up. I can talk about its obvious influences. But I can’t tell you what exactly Luc Besson’s latest film actually is, because it seems like Besson himself can’t make up his mind.

Is it an action film with a quirky and unconventional set-up? Is it a gangster comedy about a former crook trying to go straight? Is it a fish-out-of-water comedy of manners about Americans arriving in northern France? Is it a pitch black comedy about a self-justifying sociopath attempting to carve out his own place in the world? Is it a high-stakes thriller about a family putting their lives on the line? Is it a weird coming-of-age drama? The Family is all of these things at various points, but it never commits to any of them.

Instead, it uses these elements to just keep circling until the running time is over.

Family values...

Family values…

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Doctor Who: Vengeance on Varos (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Vengeance on Varos originally aired in 1985.

It’s a question of re-imprinting their identities, of establishing again who they are.

– Colin Baker spots the problems with the Colin Baker era

Vengeance on Varos is a serious contender for the best Colin Baker Doctor Who story. Not that there’s too much competition. It’s either this or Revelation of the Daleks. I’m also reasonably fond of The Two Doctors, but I’ll accept that I’m in the minority on that one. Colin Baker’s first season is an absolute mess. It has a scattering of half-decent ideas (paired with some atrocious ones, to be fair) executed in a rather slapdash manner.

The season is obsessed with violence and politics and power and the Doctor’s strange ability to accrue large body counts while nominally remaining a pacifist. Like the last year of Peter Davison’s tenure, there’s a sense that the show doesn’t really like its protagonist. Attack of the Cybermen seems willing to trade him for a murderous sociopath. Still, there’s the nugget of an interesting idea there; it’s telling that the revived series would explore some of these ideas in a more insightful and intelligent manner.

However, Vengeance on Varos and Revelation of the Daleks stand apart from the rest of the season because they explore these issues with nuance and sophistication. Vengeance on Varos is wicked social satire that still stings today, an indictment of reality television that was broadcast almost two decades before the format took over television.

It's okay, the audience seems to actually like this one...

It’s okay, the audience seems to actually like this one…

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Doctor Who: Blink (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Blink originally aired in 2007.

But listen, your life could depend on this. Don’t blink. Don’t even blink. Blink and you’re dead.

– the Doctor

Like Love and Monsters, Blink is a “Doctor-lite” episode, an effective time- and money-saving measure from the show’s production staff, built around filming an episode that requires the minimal involvement from the lead actors. Also like Love and MonstersBlink is an episode of Doctor Who that is about Doctor Who.

Granted, Steven Moffat’s script doesn’t engage with fandom as directly as Russell T. Davies did. Here, the fans trying to find their own meaning in the show are the anonymous net-izens on forums and fan sites, rather than a friendly group of eccentric individuals enriched by contact with one another.

While Love and Monsters is about how Doctor Who fandom tends to serve to unite diverse people beyond an interest in Doctor Who itself, forming bonds that become more significant and important than the interest in the show, Blink is very much a story about trying to make sense of the show itself.

Rocking the boat...

Rocking the boat…

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