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97. The Open House (-#58)

Hosted by Andrew Quinn and Darren Mooney, The Bottom 100 is a subset of the fortnightly The 250 podcast, a trip through some of the worst movies ever made, as voted for by Internet Movie Database Users. The Bottom 100 is a special series of episodes that will be randomly interspaced with regular releases, covering the way in which the Internet Movie Database recently renovated their list of the worst movies ever made to include more populist fare.

This time Matt Angel and Suzanne Coote’s The Open House.

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91. El secreto de sus ojos (The Secret in Their Eyes) (#136)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Aine O’Connor, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT, with the occasional bonus episode thrown in.

This time, Juan José Campanella’s El secreto de sus ojos.

Prompted by a desire to bring closure to an old case, retired detective Benjamín Espósito sets out to write a novel documenting his experiences during the turbulent seventies. Prying into his earlier investigation reawakens painful memories, and powerful emotions.

At time of recording, it was ranked the 136th best movie of all-time on the Internet Movie Database.

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Star Trek: Voyager – Fury (Review)

Normally, the return of an old cast member to an established show is a cause for celebration, akin to a belated family reunion.

The obvious examples involve the appearances of cast members from other shows on later spin-offs. Think of the reverence and sincerity with which Star Trek: The Next Generation treated Spock and Scotty in episodes like Unification, Part I, Unification, Part II and Relics. Think about the delight with which Star Trek: Voyager greeted Geordi LaForge in Timeless or Deanna Troi in Pathfinder. Even when Star Trek: Deep Space Nine subverted expectations with Jonathan Frakes’ appearance in Defiant, it was still joyful. If anything, Star Trek: Enterprise went too far in accommodating Troi and Riker in These Are the Voyages…

Self-control.

Even within individual shows, the return of long-absent cast members is often treated as an opportunity to celebrate that character, and perhaps even to acknowledge past missteps involving them. Yesterday’s Enterprise brought back the character of Tasha Yar, and used the opportunity to rewrite her mean-spirited and pointless death in Skin of Evil. When mirror!Bareil visited in Resurrection, the episode became a meditation upon how the character’s intrinsic decency was strong enough to transcend dimensions and to define even the worst version of himself.

This approach to the return of established characters makes a great deal of sense for a wide variety of reasons. Most obviously, the production team have gone out of their way to recruit these actors for this specific purpose; it makes sense that these episodes should serve as a celebration of their contributions to the franchise. Even beyond that, it is safe to say that almost any lead character on a Star Trek series has something resembling a fan base; think about the ominously-named “Friends of Vedek Bareil.” Why bring back a character, and attract in those fans, just to do something horrific?

That healthy blue glow.

All of this serves to make Fury all the more perplexing. Fury is an episode of Voyager that effectively resurrects the character of Kes, a regular on the first three seasons of Voyager who departed the series in The Gift at the start of the fourth season. The return of Kes is a strange choice, in large part because the production team often struggled with what to do with the character while she was part of the core cast. Still, there are any number of interesting possibilities. And there is the possibility that, like Yesterday’s Enterprise or Resurrection, the production team might use the occasion to say something interesting about Kes.

Unfortunately, Fury is a spectacular mess of an episode with half-developed character motivations and a highly surreal premise that undercuts a lot of the appeal of bringing Kes back in the first place.

Having its cake and eating it too.

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60. The Shawshank Redemption (#1)

Hosted by Andrew Quinn and Darren Mooney and this week with special guest Charlene Lydon, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturday at 6pm GMT, with the occasional bonus episode along with them.

This time, Frank Darabont’s The Shawshank Redemption.

Convicted of murdering his wife, Andy Dufresne is sentenced to two life sentences in Shawshank Penitentiary. A harsh and unforgiving prison, Andy struggles to hold on to hope as the years go by.

At time of recording, it was ranked the best movie of all time on the Internet Movie Database.

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Twin Peaks – Northwest Passage (Review)

This is Special Agent Dale Cooper.

Gary Cooper?

Agent Cooper. Agent.

Twin Peaks remains something of a pop cultural oddity.

Despite its trappings and its pedigree, Twin Peaks was not a niche phenomenon. It was an event. The pilot was the most-watched television movie of 1990, and set about a wave of speculation and engagement. The series inspired a whole generation of television copycats, from Picket Fences to The X-Files. It redefined what was possible on television. It was a water-cooler show. This fact is somewhat obscured by the underwhelming ratings of the recent relaunch and even the sharply declining ratings of the original run.

And yet, in spite of all of that, Twin Peaks is undoubtedly the product of David Lynch. Of course, Lynch was working with writer Mark Frost, who deserves a great deal of credit for fashioning Lynch’s surrealist tendencies into something as coherent and accessible as Twin Peaks. Nevertheless, Twin Peaks is very much “of a piece” with the rest of the director’s work. Even beyond its use of familiar faces and its unmistakable tone, there is a clear sense that Twin Peaks belongs alongside Lynch’s films like Blue Velvet, Mulholland Drive and Inland Empire.

However, the beauty of the original Twin Peaks is the way in which so skillfully distills that illusive and ethereal Lynchian quality into something that is much more conventional than a lot of his cinematic output; something that has the same depth and uncanniness that defines so much of Lynch’s work, while also seeming very much in tune with the popular consciousness. It is a rare quality, a piece of art both universal and specific.

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Star Trek: Voyager – One (Review)

One is a solid episode.

Indeed, One is so solid that it is the rare episode of Star Trek: Voyager to be repurposed for Star Trek: Enterprise. The prequel series tended to borrow stock Star Trek plots, but it tended to borrow most heavily from Star Trek: The Next Generation and even Star Trek: Deep Space Nine; Oasis was Shadowplay, Vanishing Point was Realm of Fear, Dawn was Darmok. However, One would be reworked as Doctor’s Orders, another pseudo-horror bottle episode in which a member of the cast finds themselves driven insane by isolation.

Everything’s gone askew…

However, One has an in-built advantage over Doctor’s Orders, in that it is centred on a character who practically begs for this sort of treatment. Seven of Nine is effectively a reformed Borg drone. While Jean-Luc Picard was assimilated in The Best of Both Worlds, Part I and recovered in The Best of Both Worlds, Part II, and while Chakotay brushed up against a pseudo-collective in Unity, Seven of Nine is the first franchise regular to have spent the bulk of her life inside the Borg Collective. The nature of the Borg means that Seven is perfectly suited to a story about isolation.

One is a messy and clumsy episode in a number of ways, particularly in its drive for big action set pieces and tangible threats. In particular, the penultimate act of One feels awkward, as if the production team do not trust the audience to engage with a purer breed of psychological thriller. However, One leans very heavily on the character of Seven of Nine and on the performance of Jeri Ryan. Luckily, both character and actor are up to the task.

Voices in her head.

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Star Trek: Deep Space Nine – The Darkness and the Light (Review)

The Darkness and the Light is the first television credit for writer Bryan Fuller.

There is no way around that. It puts a lot of emphasis on this fifth season episode, drawing a lot attention to the story. Fuller didn’t even write the script, instead pitching a story that would be developed by Ronald D. Moore. However, later in the fifth season, Fuller would pitch the story for Empok Nor. After that, he would be recruited on to the writing staff on Star Trek: Voyager. Then Fuller would begin developing his own shows. Dead Like Me. Wonderfalls. Pushing Daisies. Hannibal. American Gods. Star Trek: Discovery.

Face-off.

Face-off.

That naturally casts a shadow over his first television pitch, the premise sold to the writing staff of Star Trek: Deep Space Nine. Even watching Fuller’s idea filtered through the lens of Ronald D. Moore, there is a strong urge to read too much into this forty-five-minute piece of television. How much of it represents Bryan Fuller’s vision of Star Trek? How have its themes and ideas resonated across the rest of the writer’s work? What insight might it offer into the producer’s vision for the future of the franchise?

A lesser episode would crumple under that weight. It helps that The Darkness and the Light is an ambitious and exciting piece of television, a triumph of concept and execution that stands as one of the most distinctive and memorable episodes in the fifty-year history of the franchise.

A time to heal.

A time to heal.

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