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Doctor Who: Mummy on the Orient Express (Review)

“You know, Doctor, I can’t tell if you’re ingenious or just incredibly arrogant.”

“On a good day, I’m both.”

Mummy on the Orient Express is Doctor Who in a blender. It’s classic period piece, genre pastiche and science-fiction spectacle, mixed with a healthy dose of creature feature horror and a solid development of the themes running through the eighth season so far. It’s clever, witty and energetic. The episode is a delight from beginning to end, beating out Robot of Sherwood and Time Heist to claim the title of the year’s best “romp” – as you might expect from a story that is a Hammer Horror murder on the Orient Express in Space.

doctorwho-mummyontheorientexpress8

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The X-Files – Sleepless (Review)

This August (and a little of September), we’re taking a trip back in time to review the second season of The X-Files. In November, we’ll be looking at the third season. And maybe more.

Vietnam casts a long shadow over The X-Files, just as it casts a long shadow over the rest of American popular culture. It was a conflict that left a scar on the American psyche, prompted no small amount of soul-searching and naval-gazing, forcing the country to contemplate its role on the global stage. The issues of war guilt and veterans rights haunted America well into the nineties, with films like Forrest Gump and Heaven and Earth still trying to make sense of it all.

Along with Watergate, Vietnam came to embody the disillusionment and disengagement of the seventies. While public discomfort with American involvement the Korean War never climbed above 50%, public disapproval of American involvement in Vietnam would reach almost 75% in March 1990. Vietnam remains a boogeyman, with memories of Vietnam arguably informing Clinton’s reluctance to commit American ground troops to foreign theatres during the nineties and serving as a frequent point of comparison to twenty-first century entanglements in Afghanistan or Iraq.

Howard Gordon’s first solo teleplay for The X-Files, Sleepless is an episode that explores Vietnam as a perpetual waking nightmare.

Preaching to the choir...

Preaching to the choir…

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Star Trek (DC Comics, 1984) #1-6 – Errand of War! (Review)

This July, we’re taking a look at some classic Star Trek movie tie-ins. Check back daily for the latest reviews and retrospectives.

After Marvel lost the Star Trek license in 1982, there was a period where no monthly Star Trek comics were being published. One of the consequences of this was that Star Trek II: The Wrath of Khan didn’t receive an official comic book adaptation, until IDW decided to go back and fill in the blanks in 2009. Eventually, DC comics managed to secure the license for Star Trek comics, and they began publishing in 1984, the year that saw the release of Star Trek III: The Search for Spock. DC would maintain the license into the mid-nineties, making it one of the most stable licensing agreements ever reached about Star Trek comics.

Unlike Marvel’s 1979 agreement with Paramount, DC reached an agreement that allowed them full access to the Star Trek mythology. Marvel had been restricted to using characters and concepts from Star Trek: The Motion Picture, a rather restrictive agreement. In contrast, DC had access to the whole of the Star Trek canon. Indeed, reading Mike Barr and Tom Sutton’s run on Star Trek, it seems like their opening six issues were designed to showcase the sheer breadth of continuity available to them.

At the same time, Barr’s scripts have a pulpy charm that makes them highly enjoyable, even as trying to tell an unfolding Star Trek story set between the events of The Wrath of Khan and The Search for Spock seems ill-advised.

Warp speed ahead...

Warp speed ahead…

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Star Trek: The Next Generation – The Last Generation (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

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

The Last Generation, a five-issue miniseries written by Andrew Steven Harris and illustrated by the wonderful Gordon Purcell, feels like a companion piece to Harris’ Alien Spotlight: Borg issue. Both are essentially stories about the morality of using time travel to re-write history, and both can be read as a reflection on Star Trek continuity as a whole.

Published from November 2008 through to March 2009, The Last Generation feels like something of a preemptive rebuttal to JJ Abrams’ May 2009 reboot of Star Trek. Much like Alien Spotlight: Borg before it, it feels like a conscious attempt to vindicate and validate the franchise from the era of Star Trek: The Next Generation onwards.

Given the fact that the “reboot-in-all-but-name” back-to-Kirk nature of Abrams’ film was openly discussed well ahead of the release, it’s hard not to read The Last Generation and Alien Spotlight: Borg as protests against the decision to set the clock back on the franchise and start with Kirk yet again.

A shot in the dark...

A shot in the dark…

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Star Trek: The Next Generation – Yesterday’s Enterprise (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Yesterday’s Enterprise is one of the best-loved pieces of Star Trek ever produced. Its inclusion is a given in absolutely any “best of” poll being run for Star Trek: The Next Generation or even the franchise as a whole. A rather thoughtful piece of high-concept science-fiction exploring the importance of the right people in the right time, Yesterday’s Enterprise is proof that The Next Generation has truly come of age. After two years of wandering in the wilderness, the show has finally found its feet.

Of course, the production of Yesterday’s Enterprise was quite traumatic. The story and script went through multiple iterations between the original pitch and the version presented on the screen. The episode was written by pretty much the entire writing staff over the Thanksgiving weekend, racing against the clock to get it finished. Due to scheduling issues with Denise Crosby and Whoopi Goldberg, it was filmed in late December instead of early January.

As with so much of the third season, there’s a sense that the episode was held together by chewing gum and rubber bands. However, also like most of the third season, that sense only comes from those delving into the behind-the-scenes stories. Looking at the episode itself, this was a show on the top of its game.

The battle bridge...

The battle bridge…

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Garth Ennis’ Run on Punisher MAX – Born (Review/Retrospective)

To celebrate St. Patrick’s Day, this month we’re going to take a look at Northern Irish writer Garth Ennis’ run on that iconic Marvel anti-hero, The Punisher. Check back every Friday and Wednesday for a review of a particular section.

There are comic book characters that are so closely tied to one particular writer that you pity anybody trying to write them. The X-Men have Chris Claremont (although I do love Grant Morrison’s New X-Men run), Daredevil has Frank Miller (although he also has Brian Michael Bendis and Ed Brubaker), Hulk has Peter David and (I firmly believe) Green Lantern has Geoff Johns. Somehow, through some fluke, occasionally comic book characters manage to stumble across a writer who fundamentally understands them. I’d argue that this is the benefit of having these characters survive in print – none of these runs were by the original authors. Anyway, to get to the point, the Punisher has Garth Ennis.

The last Castle...

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Non-Review Review: Tomorrow Never Dies

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

What the hell is he doing?

His job.

– Admiral Roebuck and M watch Bond do the impossible before the opening titles

I have a confession to make. I unapologetically love Tomorrow Never Dies. It’s the first Bond movie I saw in the cinema, with my dad and brother while on a shopping trip up North. I believe the girls went to see Titanic. It’s my first cinematic Bond experience, a perhaps that’s why I am somewhat fonder memory of the film than most – but, even on reflection, I still hold the movie in high regard. I just think it’s the perfect companion piece to the superb GoldenEye. While Martin Campbell’s film was about deconstructing the spy, showing how useless he was in times of peace and arguing he was “a relic of the Cold War” who needed updating and introspection, this Bond film was about how he can do all the cool stuff he used to, even after the fall of the Berlin Wall. Sure, it’s not as deep, smart or sophisticated as the earlier film, but it’s an unashamed throwback to the classic Bond films – and what’s wrong with that?

By the way, how telling is it that – while Bond used to drive a snazzy sports car in the sixties – he drives a family sedan in the nineties?

I'm pretty sure that the only reason Tomorrow Never Dies is because Bond never tried to kill it...

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