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Doctor Who: Listen (Review)

Are you making conversation?

I thought I might give it a try.

Listen is an episode important in its unimportance.

It is the first non “event” episode credited to Moffat as a solo writer since The Beast Below. Every episode credited exclusively to Moffat since The Beast Below has been a premiere or a finalé or two-parter or a special of some description. Listen is the fourth episode of Peter Capaldi’s first season, following a celebrity pseudo-historical written by Mark Gatiss. It is an episode that is about very little. There is a lot of talking, and a lot of sitting, and – as the title implies – a lot of listening. It is utterly unlike any other episode of Doctor Who ever produced.

doctorwho-listen17

Midnight in the TARDIS…

Listen has a central mystery that it refuses to resolve, a wealth of lovely character moments, and just the faintest trace of Moffat’s “timey-wimey” stuff. As with a lot of Moffat’s writing for the show, Listen is packed with little details that seem to exist to drive fans wild, but which make a lot of sense for those willing to relax and go with it. It is fascinated with negative space, with the characters ruminating on how questions are more important than answers, and how nothing can be more defining or revealing than something.

It is an episode that feels very much in touch with the mood and themes Moffat era. In keeping with Moffat’s style since he took over the show, Listen is a lesson in the art of misdirection.

doctorwho-listen6

Chalking it up to a title drop…

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Doctor Who: Love and Monsters (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.

Love and Monsters originally aired in 2006.

Someone wants a word with you.

You upset my mum.

Great big absorbing creature from outer space, and you’re having a go at me?

No one upsets my mum.

– the Doctor, Rose and Elton get their priorities straight

Love and Monsters remains one of the most divisive stories of the Davies era, if not the revival in general. It’s the show’s first “Doctor-lite” episode, a production featuring as little of the lead actor in possible in order to make the season’s arduous production schedule just a little bit easier. The Christmas Invasion had added another episode to the mix, and so the idea was that Love and Monsters could be shot during the production block of The Impossible Planet and The Satan Pit in order to allow for a standard length season without increasing an already impressive workload for the leads.

As such, it’s easy to imagine that the “Doctor-lite” episodes could be throw-away adventures, episodes chopped together to meet the quota of stories for a given season – churn them out and focus the attention on to the “bigger” and “more important” adventures. Instead, the “Doctor-lite” episodes have proven to be some of the most experimental and creative episodes of the entire Davies era. While critical and fan opinion remains divided on Love and Monsters, the subsequent “Doctor-and-companion-lite” episodes – like Blink, Midnight and Turn Left – are counted among the best of their respective seasons.

Love and Monsters is a show about Doctor Who. More specifically, it’s about Doctor Who fandom, and a romantic ode to the importance that the show can have in some people’s lives.

Reach out and touch faith...

Reach out and touch faith…

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Non-Review Review: Percy Jackson and the Sea of Monsters

Percy Jackson and the Sea of Monsters demonstrates just how lucky the Harry Potter films were when it came to casting teenage performers. As a movie series centred around the off-spring of Greek deities, the movie relies on the charisma of its leads to sell the premise. Unfortunately, they aren’t quite up to the task. While none of the performers are terrible or wooden, the film drags to a hault when the teenage actors are asked to carry a scene. As a result, a quiet boat ride in the middle of the film seems interminable, and a heart-to-heart before the climax feels overlong.

None of the cast are assisted by a script from Marc Guggenheim. Guggenheim is capable of a well-placed zinger, and the movie offers its fair share of wit, but everything about the movie feels pandering and simplistic, as if Guggenheim doesn’t trust his audience to pick up on the plot points if they aren’t painstakingly catalogued and repeatedly spelt out with cringe-worthy dialogue. Indeed, Guggenheim’s desire to slow everything down so he can repeatedly explain what’s going on only adds to the pacing issues caused by the weak leads.

It’s a shame, because the adult cast seem to be genuinely enjoying themselves, and there’s something quite charming about the idea of “demi-googling” as a means of retrieving information.

Another stab at a Percy Jackson film...

Another stab at a Percy Jackson film…

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American Vampire, Vol. 1 (Review)

This October, to get us in the mood for Halloween, we’re taking a look at some awesome monster comics. Check back in every Monday this month for a review of Scott Snyder’s American Vampire Saga.

In the end, though, it’s all about giving back the teeth that the current “sweetie-vamp” craze has, by and large, stolen from the blood suckers.

– Stephen King’s introduction to the collection

Stephen King, who wrote the origin half of this collection based off Scott Snyder’s notes, remarks in his wonderful foreword, “Here’s what vampires shouldn’t be: pallid detectives who drink Bloody Marys and only work at night; lovelorn southern gentlement; anorexic teenage girls; boy-toys with big dewy eyes.” American Vampire seems to be a strong rebuttal to all those modern and soft depictions of the blood-sucking monsters we’ve been swamped with over the last decade or so.

If that isn’t enough to at least interest you, then I don’t know what will.

Ch-ch-ch-changes…

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Non-Review Review: Grabbers

Grabbers is a fascinating little premise, executed in a delightfully quirky and off-kilter manner. Very much an affectionate homage to classic creature features (you can spot Night of the Living Dead playing in the background of one early scene), director Jon Wright and writer Kevin Lehane are sure to give the story a delightfully stereotypical Irish twist. While the Americans might defeat a potentially hostile alien invasion with moral certitude and superior firepower, or the the British might best those otherworldly monsters with a stoic stiff upper lip, the inhabitants of the even stereotypically named “Erin Island” take on their visitors using the sheer unmitigated power of the pub lock-in.

It’s a premise that could easily collapse under its own weight, or become one joke extended well past the point of hilarity, but it’s to the credit of Wright, Lehane and the cast that it flies through its hour-and-a-half runtime.

Catching them off-guard…

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Non-Review Review: Stake Land

Stake Land is a B-movie. It’s pure schlock, with a hefty amount of cheese thrown in on top. That might sound like a criticism, but it’s more of a fact. The movie itself is well-made, a little bit sharp, not so insecure as to take itself overly seriously, and delivers something akin to an old-school creature feature with a hint of the social conscience one expects from horror. It’s not amazing, but it’s a solid addition to the slew of post-apocalyptic movies we’ve seen of late, with a refreshing awareness of its pulp roots.

He knows what's at stake...

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Non-Review Review: Monsters

At this stage it seems almost pointless to reflect on how impressive Monsters is from a purely film-making perspective. Filmed on a ridiculously tiny budget, the film features a wonderful epic scale, beautiful locations and not-half-bad special effects (they’re more The Mist than Avatar, but let’s not complain). It’s the latest “look what modern film directors can do on a shoe string!” picture, one that you drop into conversation when you wonder how a film like Transformers can cost as much as it does. Unfortunately, as bedazzling as these aspects are, and they are very bedazzling, the film has several shortcomings which have nothing to do with budget.

Here be monsters...

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Scary Monsters and Super Freaks…

D’you know what would have been scarier than nothing?

What?

Anything!

– Bart and Lisa discuss Edgar Allen Poe’s The Raven, The Simpsons

The week before last, in reviewing Insidious, I made the observation that director James Wan made the mistake of “showing too much” in his horror film, and that movie itself suffered because it didn’t show any restraint in how it handled its creatures and monsters. The always wonderful Justin, in fairness, called me on my assertion correctly – who ever stated it was a rule that horror films can show too much? Surely it’s possible to show as much of something as you might want, provided you have enough talent and skill to do it well? Surely showing too much only becomes a problem when you aren’t skilled enough to deliver something genuinely terrifying?

Or is it something more primal? Is what you don’t see scarier?

Do I have a point?

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Does Whatever a Spider Can: How Sam Raimi “Got” Spider-Man…

This is a post as part of “Raimi-fest”, the event being organised by the always wonderful Bryce over at Things That Don’t Suck.

Watching all three of Sam Raimi’s Spider-Man trilogy back-to-back, it becomes increasingly obvious that the director harbours an honest and genuine affection for the source material. In fairness, it’s hard to believe that the cult director seemed like a safe option for a multi-million dollar movie franchise, but it worked out remarkably well – just look at the box office figures and the critical acclaim (of at least the first two films). So what is it about Raimi that really “clicks” with Spider-Man? How does the director get the character so well?

Goblin it all up…

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See the Aborted Monsters Inc. 2 Trailer…

I’m a sucker for all things Pixar, so when this turned up on-line, I thought I would share it. Basically, it’s a trailer for the original planned Monsters Inc. 2: Trouble in Scaradise movie that was in development at the company few years back. It’s apparently radically different from the iteration of Monsters Inc. 2 that we will see hitting our screens next year, but the writers of the original film found some concept art that had been prepared for their draft of the film, and decided to give us a taste of what their version of the film might have looked like. I think it was interesting, but it does seem a little close to Toy Story 3 (with a child abandoning the objects of their fantasy), but perhaps I’m too harsh. Give it a look below.