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The X-Files – The Rain King (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

I do not “gaze” at Scully.

Somewhere over the rainbow...

Somewhere over the rainbow…

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Star Trek (DC Comics, 1984) #39-40 – The Return of Mudd (Review)

The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.

By its nature, Star Trek had very few recurring guest stars – outside of recurring extras and the supporting senior staff.

Star Trek was a prime-time science-fiction show in the sixties. As such, it was strongly episodic. More than that, it was a show that included its stated goal – “to explore strange new worlds” – in a narration over the opening credits. As such, the show did not tend to bring back too many recurring characters. Gene L. Coon had tried to introduce a recurring foil for Kirk in the second season, but Robert Justman had vetoed the reappearance of Kor in A Private Little War and Coon would depart before he could follow through on plans to make Koloth a recurring adversary.

Our man Mudd...

Our man Mudd…

Of course, this has not stopped Star Trek fans from seizing on various one-shot characters from the three seasons of the original Star Trek. Despite only appearing in Errand of Mercy, Kor has become a frequently recurring character in the Star Trek mythos. Gary Seven has spun off from Assignment: Earth into a string of novels and comics. Christopher Pike only appeared with Kirk in one single story, but there is a huge amount of literature dedicated to him. Still, this means that the elements which do recur are given a bit more weight.

Klingons, Romulans and Vulcans are a vital part of the Star Trek mythos. Khan Noonien Singh only appeared in Space Seed and Star Trek II: The Wrath of Khan, but his memory haunts the franchise to the point where he was revived for Star Trek Into Darkness. Harry Mudd has the distinction of being the only non-crewmember to recur within the original run of eighty episodes. So it is no surprise that Harry Mudd has become one of the most frequently recurring guest stars in the history of the franchise.

Kirk meets quirky...

Kirk meets quirky…

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Any Witch Way But Backwards: How Oz The Great & Powerful Erodes the Feminist Appeal of The Wizard of Oz…

I quite enjoyed Oz: The Great & Powerful. The visuals were amazing, and I thought that Sam Raimi brought the world of Oz to life in a way that audiences haven’t really seen since 1939. Despite the fact that the film was limited to elements from the source novels rather than the classic film, meaning no red slippers and the Winkie Guards chanting a generic “ho-ho-ho” instead of “ho-ee-ho-ee-oh”, I think that Oz: The Great & Powerful is the first time that a film has taken us back to that version of the wonderful world of Oz.

It’s a shame, then, about the script. I have a lot of problems with the screenplay by Mitchell Kapner and David Lindsay-Abaire. Indeed, I’m less than thrilled that Kapner has apparently been tapped by Disney to prepare a sequel. While Raimi and his cast, and his production designers, seem to understand a great deal about the magic of The Wizard of Oz, it seems like Kapner and Lindsay-Abaire seem to have missed the point.

It’s a shame, then, that Oz: The Great & Powerful rolled on March 8th, celebrated as International Women’s Day. Dorothy Gale has been described as “the first feminist role model” and The Wizard of Oz is packed to the brim with strong female characters. Although Dorothy obviously can’t play a major role in this prequel, one does wonder where all the strong women have gone.

ozthegreatandpowerful11

Note: This post contains spoilers for Oz: The Great & Powerful. Consider yourself warned.

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Non-Review Review: Oz – The Great & Powerful

Oz: The Great & Powerful is a fabulous production. A few minor misgivings aside, it looks and sounds fantastic. Sam Raimi has done the best job bringing Oz to the screen since the original version of The Wizard of Oz all those decades ago. In its best moments, there’s an enthusiasm and a lightness of touch that fits the material perfectly and captures the wonder that we associate with Oz. It’s very clear that a lot of love and care was put into the production design of the film, and that Sam Raimi’s hand moved with the utmost consideration and affection for the original film. It makes it a little disappointing, then, that the script to Oz: The Great & Powerful should feel so undercooked, more like an early draft than a finished screenplay.

Up in the air or down to earth?

Up in the air or down to earth?

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Non-Review Review: Raging Bull

I might disagree with the critical consensus that Raging Bull stands as Martin Scorsese’s crowning accomplishment, or even that it’s probably the best film of the eighties, but there’s no denying that it’s a shockingly powerful piece of cinema. The fact that Scorsese was originally reluctant to direct what had become a passion project for Robert DeNiro just makes the movie’s status as a masterpiece of modern cinema all the more ironic, as the film seems to play like a pitch perfect symphony, each of its many separate elements feeding perfectly into one another to create a whole that is far greater than its incredibly brilliant constituent elements.

The portrait of the boxer as a young man...

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Modern Movie Meloncholia: Why “Nostalgia” Can Be a Dirty Word…

Do you know what I hate? I hate it when people ask, completely seriously, “why don’t they make movies like [insert classic here]?” anymore, or whenever anybody goes on about the “mindless franchise trash”that Hollywood pumps into cinemas year-in and year-out. It tends to happen quite frequently, when you hear movie commentators or viewers discuss the latest crop of empty and disappointing summer blockbusters, with the default position seeming to be an attack on modern Hollywood as an institution, bemoaning the decline of movie-making standards and an unchallenged assertion that old movies are – undeniably – better. I’m not arguing that Hollywood can’t do better, but I find this fixation on things past to be quite disconcerting – and, I’d suggest, rather depressing. Why are we more focused on what Hollywood was rather than what it could be?

Frankly my dear, I think it's a depressing outlook...

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The Four Horsemen of the Apocalypse at the National Concert Hall

This film was seen as part of the Jameson Dublin International Film Festival.

I was lucky enough to be in attendance for a gala performance of Rex Ingram’s 1921 classic The Four Horsemen of the Apocalypse at the National Concert Hall, complete with live accompaniment by the RTE Concert Orchestra – featuring a new soundtrack composed by Carl Davies. While the film is one of those classics I respect more than I enjoy, I have to give credit to the National Concert Hall for hosting the gala event.

An artist at work...

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