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Non-Review Review: Summer in February

Summer in February is a lazy and contrived piece of pretentious twaddle. Exploring the true story of a colony of artists living off the coast of England in the early years of the twentieth century, it never offers anything more than a fleeting sketch of its characters and the world they inhabit. Benjamin Wallfisch’s powerhouse period score does a lot of heavy lifting, but it can’t do anything to keep the movie afloat. At one point, early in the film, artist AJ Munnings settles a hefty bar tab with an improvised drawing on the back of a bill. This film feels like it would be hard-pressed to pay for a glass of tap water.

summerinfebruary3

Ride away from the cinema! Away!

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Star Trek – Operation — Annihilate!

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

How do you follow The City on the Edge of Forever? The previous episode is one of the best-loved episodes of Star Trek ever produced, one of the great science-fiction television episodes of the sixties, and one of the best science-fiction romances ever written. It’s a gigantic and massively influential piece of television, one of the cornerstones of Star Trek and perhaps the best indicator of just how thoughtful and how genuine the franchise can be when it tries. So, what’s next? Where do we go from here? What is the next shot after that last scene of Kirk abandoning the Guardian of Forever on a desolate rock?

It’s always interesting to compare the first season of Star Trek to the first year of Star Trek: The Next Generation. The former can be counted among the very best of the show’s thirty televised seasons, while the latter can be counted among the worst. However, they do have something in common. They both probably should have ended an episode early, with The City on the Edge of Forever and Conspiracy serving as effective caps on each show’s first season, leaving the audience a chance to digest what they had seen.

Unfortunately, neither show ended on anything that could be measured among the strongest show of a given year. The Neutral Zone ended the first season of The Next Generation with a moralising whimper. While Operation — Annihilate! is quite entertaining on its own terms, it doesn’t rank among the best of the season. Still, it’s a solid pulpy science-fiction tale, which might not be the worst thing.

Man of action!

Man of action!

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Star Trek – The City on the Edge of Forever by Harlan Ellison/Cordwainer Bird (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

The City on the Edge of Forever had a troubled history, not that you’d know it based on what appeared on screen. Like quite a few classic Star Trek episodes (The Enemy Within, The Doomsday Machine, Amok Time), it was developed from a script written by a giant of science-fiction. Harlan Ellison is a respected author with a considerable reputation. However, the version of The City on the Edge of Forever which eventually made it to screen at the end of the show’s first season is radically different from the version Ellison original wrote. “It’s not the vision I had,” Ellison quotes at the start of the paperback edition of his original screenplay, released in 1996.

The book is a fantastic read, and well worth a look for anybody with any interest in Star Trek or Ellison, or even good science-fiction or the craft of television writing. Reading the various drafts, there’s no denying that it is a phenomenal script, as good as the script that eventually went into production. At the same time, it’s also quite clear that it would not have made for as classic a Star Trek episode.

Into the vortex...

Into the vortex…

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Star Trek – Errand of Mercy (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

Ah, Klingons. It feels strange to think that we’re almost at the end of the show’s first year and that we’re only meeting the franchise’s most famous aliens now. More than that, in the original version of the show, their distinctive model space ships didn’t appear until the third season, in Elaan of Troyius, the same episode where their iconic imperial crest appeared. They wouldn’t get their bumpy foreheads for over a decade, until Star Trek: The Motion Picture. And a lot of what we’d take for granted about Klingon culture would only be established in the tie-in novel The Final Reflection and later in Star Trek: The Next Generation.

Still, Errand of Mercy welcomes the Klingons to the franchise, and offers a demonstration of why the aliens had such staying power. It’s also a rather wonderful Cold War analogy, feeling like something of a companion piece to Gene L. Coon’s A Taste of Armageddon.

I bet a lot of people were surprised that they could Klingon to their reputation as Star Trek's top alien for so long...

I bet a lot of people were surprised that they could Klingon to their reputation as Star Trek’s top alien for so long…

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Non-Review Review: Blood (2013)

Blood feels a little too familiar on times, verging on cliché. Director Nick Murphy crafts a rich and atmospheric take on a story we’ve seen quite often before. A story of brothers keeping a dark secret, of the way that the islands off the coast of Britain seem to operate under their own law, of the way that guilt and secrets eat us from the inside out. It looks and sounds impressive, with the cast delivering powerhouse performances, George Richmond’s cinematography evoking a harsh wasteland where rules seem looser and myth intermingles with fact, and Daniel Pemberton’s score setting a suitably ominous note.

I wanna take you to the island...

I wanna take you to the island…

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Star Trek – This Side of Paradise (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

Star Trek always had a curious relationship with the hippie movement in the late sixties. On a surface level, you’d assume that the series would have a great deal of empathy for the idealistic and pacifist movement. After all, the show embraced counter-culture in a fairly significant way, offering none-too-subtle criticisms of American foreign policy in episodes like A Taste of Armageddon, and harbouring some very serious concerns about authority in adventures like Dagger of the Mind. What was The Naked Time but an embrace of fin de siècle anxiety mere months before “the summer of love”? After all, the nineteenth century European fin de siècle period had produced Der Wandervogel, considered one of the predecessors to the hippie movement.

And yet the show never seemed entirely comfortable with the youth movement. This would be much more obvious third season’s dire The Way to Eden, but the show’s sense of unease is quite palpable here, as Kirk finds himself trying to deal with a crew that have sampled some mind-altering vegetation and are now embracing free love.

Flower power...

Flower power…

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Non-Review Review: Epic

Epic looks stunning. While it doesn’t necessarily push the envelope in terms of 3D rendering or animation, it’s often quite beautiful to watch. Even in 3D, the vibrant greens radiate off the screen, with the characters having a pleasant elasticity to them. The action sequences are well-staged and the choreography is generally impressive. However, despite this, Epic winds up feeling rather shallow. Perhaps it’s a result of the decision to develop the world as a priority, rather than the characters inhabiting it.

The story is more a collection of familiar tropes and set-pieces than a compelling narrative, and none of the lead characters are ever developed beyond basic archetypes. There’s the plucky heroine, the roguish hero, the gruff mentor, the free-spirited wise oracle, the drôle accented bad guy, the comic relief and even the kooky dad. None feel of any real substance, which is a problem when you’re executing a plot as straight-forward as this.

It's a slug's life...

It’s a slug’s life…

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Non-Review Review: Dead Man Down

This is intriguing. Dead Man Down feels like a blend of a European revenge thriller with a more straight-forward American crime film. Director  Niels Arden Oplev has established his credibility with his work on the original version of The Girl With the Dragon Tattoo, even it I am less fond of the film than most. His first America film is an interesting experiment, even if Oplev can’t quite pull it off as seamlessly as the material requires.

Dead Man Down buckles a bit under the weight of two sets of genre requirements. It is by turns quiet, withdrawn and introspective, but also loud, overwhelming and exposition-filled. These two facets of the film – feeling like the demands of a European film against an American mainstream release – seem to be at war with one another. The result is something that is more interesting than entirely satisfying.

They do make a bloody mess...

They do make a bloody mess…

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Non-Review Review: Bernie

Bernie is a gem. Reteaming director Richard Linklater and Jack Black, two talents re-energised by their last collaboration in School of Rock, Bernie is a black comedy based on a true story about a Texas mortician named Bernie Tiede. It’s a beautiful and darkly funny little film, one Linklater shoots in a mockumentary style just to add a touch of  the surreal. It’s a fake documentary (complete with staged reconstructions) of a real event, one of those bizarre slices of Americana. It’s never to harsh on its subject, but it also never pulls any of its punches, feeling very much like one of those stories that is so ridiculous that it must be true.

Mortifying...

Mortifying…

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Ultimate Comics: Divided We Fall, United We Stand – Spider-Man (Review/Retrospective)

To get ready for Iron Man 3, we’ll be taking a look at some Iron Man and Avengers stories, both modern and classic. We hope to do two or three a week throughout the month, so check back regularly for the latest update.

I have to admit, I am very surprised that Marvel have yet to start issuing oversized hardcovers of writer Brian Michael Bendis’ latest Ultimate Spider-Man run. The author has been writing the writing the series since the first issue appeared on stands in October 2000. The series has been re-launched twice, for three volumes as part of the same story. The first two runs are collected in their entirety, but only bits and pieces of the third run have been collected so far. The prelude Fallout was collected with Bendis’ The Death of Spider-Man omnibus, and the crossover with the main universe has been collected in Spider-Men, and then there’s these issues here, collected as part of Divided We Fall.

However, despite the high profile decision to create a new Spider-Man, generating considerable press coverage, Marvel has yet to begin collecting nice oversized hardcovers of Bendis’ latest run. As a result, the issues collected here give a rather scattershot coverage of Bendis’ run on the iconic web-crawler, which is a bit of a shame. As with the Ultimates and Ultimate X-Men comics tying into this big event, context is a vital part of this gigantic crossover, with Bendis’ story only really resonating as part of an on-going story featuring the development of a new version of Spider-Man, Bendis’ own creation.

Who says there's no such thing as bad publicity?

Who says there’s no such thing as bad publicity?

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