*** This is a spoiler-free review. *** (The fact that I have to say that is ridiculous, but there we go.)
I’m always wary about movies that everyone professes to love. Too much hype will kill you, and all that. I haven’t seen any trailers for this film. Didn’t see a cast list, didn’t read any reviews (“spoiler-free” or no).
It was worth it. It was completely worth it.
I shrieked when I saw each new cast member. I gasped and groaned and laughed my way through every twist and turn. It has the Whedon hallmarks (familiar actors, lots of feet) and it has complete U-turns, shocks and thrills.
There was homage to the genre, and there were marked deviations that made it all so much better. From the get-go, it was surprisingly. And then it went completely off the reservation. And the ending…I can’t believe he did that. I honestly cannot believe it. But wow.
With this film, I have three words for you: Believe The Hype.
Out of all the comic book movies released this year, this was undoubtedly my favourite and a good film in its own right. It takes two big characters with decades of history and brings them back to their potential. It shows a complicated relationship develop into the closest of friendships – and then shatters it. The supporting cast enliven the film and the action plot ain’t too shabby. Come for the fights, stay for the characters.
After Disney’s recent output, I was nervous about a new film. But the trailer sold me instantly and the feature didn’t disappoint. The first song threw me completely, as I’m now accustomed to Pixar’s style, but the dynamics between Rapunzel and Flynn (who I want to call Gwaine) sold it. Easily Disney’s best film for ten years.
I missed this at the cinema, so rented it on DVD (yes, people still do that). It’s a funny teen comedy! With a real heroine! Emma Stone rocks this movie and the other characters are well-realised and engaging. The plot is simple yet compelling – and did I mention it’s FUNNY?
This film was sprung upon me by my friends who wanted some “Christmas spirit” – and we laughed constantly throughout. This modern Lapland vision was populated with a dysfunctional family and an adorable hero, with a simple “coming of age” story that invokes warm Christmassy feelings.
The fourth season of Merlin has been the best yet. With the cast extended by a whole lot of knights (one of whom looks just like Flynn Rider…), there are a lot of relationship dynamics in play. The mythos is tied up in knots and broken apart but our heroes Merlin and Arthur, emerge stronger and better at the end. Swords and Sorcery Fantasy on the BBC.
Also now in its fourth season, this year saw a jaw-dropping end to Season 3 that left me stunned and yet eager for more. I loved these characters from episode one, but they’re just as fresh four years on. With barely one episode off the pace, this show is consistently great detective fare.
Sci-fi horror on the BBC? Pull the other one. Geeky horror with a teen protagonist I feel for and a best friend who I want to take home for life commentary? With scary freakin ghosts and a fantastic series arc? Realistic teen issues and not taking the easy way out? Fan-bloody-tastic.
I watched this series for the first time this year and I see why everyone’s been raving! The thing that struck me most was the 20+ regular cast members. Developing storylines for so many characters convincingly takes a deft hand, but it was perfectly done. This series proves that good writing trumps set conventions, like “maximum six main cast” rules.
I picked up “A Moment of Silence” in The Works for cheap. The premise caught me instantly: Georgian heroine solves crime. It’s Jane Austen meets Miss Marple! Including Austen-style letters to her sister and a peripheral romantic interest, it’s a country house murder mystery that provides all the ingredients for solution yet kept me guessing completely. The next two books are equally engaging and well worth a read.
A female coroner in Medieval England? Hells yeah! A fiercely-independent medically-trained woman who solves murders. I devoured these books in a couple of weeks and then discovered, sadly, that the author had passed away. However, while that leaves a terrible cliffhanger, it doesn’t diminish the brilliance of the series as it stands.
Another epic reading endeavour this year involved the Sharpe series. My favourite author is Patrick O’Brian (Master and Commander etc.), so I was always going to be inclined towards a military hero. Whilst somewhat formulaic, the Sharpe series is an action-packed, womanising ride, with great friendships. And Sharpe’s Sword, in my opinion, is the pinnacle of the series – where a devastating injury to Sharpe shows the extent of Harper’s devotion.
Some emergent themes are large ensemble casts, crime-solving, and period drama. The unifying feature is compelling characterisation, with an emphasis on Strong Characters, Female.
Things I’m looking forward to in 2012:
- BBC Sherlock (FINALLY!)
- The Muppets (a long overdue return)
- The Hobbit
- The Underwater Realm premiere at Raindance 2012
- My wedding
‘Rise of the Planet of the Apes’ not only has a ridiculously long name, but also has Trailer Issues.
When I went to see X-Men: First Class (excellent film – great characterisation, spirit of the comics if not the letter of the canon), I saw this trailer:
And I thought ‘meh’. Don’t get me wrong, I like a good action movie. I like a good explosion and an ape hanging from a helicopter is pretty cool. But why do I care about this movie? The main guy is a jerk scientist and everyone knows how it ends!
Tonight, I went to see Captain America (good movie – fair characterisation, big explosions, bit too much to cram into one film) and I saw this trailer:
And it drew me in. This is a real story about one man and his chimp, a story about a relationship that is humanising to both characters. I care about the science guy and I care about the chimp.
It now becomes a “best friends dividedW story. There is now a stake in the action and the uprising, because what happens at the confrontation? What happens when these two face each other at the bitter end?
Now I want to know what happens. Now I want to see this film.
In the end, you can take your big effects, your CGI and your pre-sold franchise, but if you don’t have a story, if you don’t have character, I don’t think you have a movie worth watching.
Yesterday, for the second time in my life, I experienced an Extended Lord of the Rings marathon. My long-suffering partner had yet to see Lord of the Rings and was thrown in at the deep end. He survived – didn’t even turn into an Elf (more’s the pity?).
But is sitting through over eleven hours of film really worth it? Couldn’t one just watch the theatrical edition? Surely the extended versions are just for nerds and die-hard film fans?
Consider:
1) Boromir
One of the most important reasons to Watch Extended for me is Boromir’s characterisation. In Theatrical, he is a weak man, tempted by the ring to bring power and glory to Gondor. He comes across as treacherous and, while struggling with himself, he ultimately comes out on top – but is it too little too late to redeem the man?
In Extended, we see a lot more of the Gondor he’s left behind. He has more conversation with Aragorn and shows more concern for the Hobbits, but it’s the scene in The Two Towers with Faramir and Denethor where his character really comes to life. He’s a big brother and a loyal son, despite his misgivings about his father’s attitude and actions, and that one scene lends makes Boromir a more sympathetic and understandable character.
So much so that I believe they should’ve put it in Theatrical.
2) Eowyn and Faramir
The love story between Eowyn and Faramir is a beautiful part of Return of the King. Pity the theatrical version skips over it entirely.
In fact, if you had no knowledge of the books, the fact that they’re standing together at Aragorn’s coronation could be pure coincidence.
While Extended doesn’t go into nearly as much detail as the books, it shows how they met and offers a lovely little scene of the two of them lending each other comfort. There’s the added bonus of Eomer being a good big brother.
And it makes their smiling faces at the coronation actually mean something.
3) The Lothlorien Gifts
“Not idly do the leaves of Lorien fall”. Aragorn, what are you talking about? Yes, it’s a pretty brooch but there’s no need to get poetic about it – you’re mend to be tracking Hobbits! And why are they all wearing those ugly grey cloaks anyway?
Enter Galadriel. While we hear about Frodo’s little night-light – because they did remember that particular gift is somewhat vital to the plot – the matching get-up and other gifts are glossed over.
While Legolas’ bow, Merry and Pippin’s daggers and Gimli’s hair story are all nice additions, the cloaks, brooches and Sam’s rope are pretty plot-vital. The brooch is used by Pippin to alert Aragorn that they’re still alive, Frodo hides Sam with the cloak outside The Black Gates, and the Elvish rope burns Gollum when Sam ties him up with it.
Overall, the Extended gift-giving scene takes a whopping five minutes and ten seconds, a whole four minutes and twenty seconds longer than the scene in Theatrical.
Time well spent, in my opinion.
I could go on. Probably at length. I would encourage viewing of the Extended versions – possibly not all in one go – because the choices made by PJ et al. in editing the theatrical editions, which are still quite lengthy, are of interest to film-makers.
And, if you just want to prove your nerd credentials, Watch Extended With Commentary. I promise you won’t regret it.
[For an excellent dissection of Theatrical v Extended, see Movie-Censorship.com's comparisons: FOTR 1and 2 TTT 1and 2 ROTK 1and 2]
Previously on this blog, I discussed why I thought watching both Sherlock pilots was an excellent exercise for film-makers.
A couple of weeks ago, I was afforded the opportunity to test this theory. My good friends at Realm Pictures had yet to see any of the Sherlock series and were therefore in an ideal position: they could watch the unaired pilot first, consider improvements, and then watch the aired version.
I shouldn’t try to predict my friends’ reactions. Also, seeing through fresh eyes and undergoing that experience with them gave me new perspective.
The first thing was that they felt the cab connection was obvious early (I watched it with friends the first time and nobody got it, but I’ve always been terrible at murder mysteries). They also preferred the first Sherlock meeting scene in the computer lab, but they may be down to taste.
They were not fond of the little text labels and the deconstruction of Sherlock’s deductions. One friend commented that Sherlock could just speak slower and save us going through the whole thing twice. However, we were all in agreement that the unaired pilot has no style – it is generic BBC drama in lighting and tone. However, the aired pilot has its own distinctive look and feel and, while that may not be to everyone’s taste, it does make it stand out (and the labelled deducing was largely phased out during the rest of the series).
They were successfully misdirected by Mycroft and we all found the last act much more satisfying for both narrative and Sherlock and John’s characterisation. It’s high drama instead of living room poison – and the fear of Sherlock’s own stupidity is much more potent.
Needless to say, they then had to watch The Blind Banker and my boxset has been kidnapped to Realmendell since then.
I’m jealous that they got to see it all for the first time. And that they don’t have to wait over a year for the resolution of that cliffhanger!
Then, my friends wanted to head out for drinks and chips. I am on a diet and wanted to walk home. Suddenly, everyone’s afrit for my personal safety but I wander off anyway. Big mistake.
Oh, I’m perfectly fine and unmolested. However, I saw monsters in every shadow and kept going over in my head the scene from my short where the heroine walks alone across campus, watched menacingly from the shadows…
Turned up at home with my heart pounding a mile a minute and an impatient text from my friend ensuring I’m back safely. Safe and sorry, yeesh.
Things more interesting than my inability to walk home without scaring myself silly:
A great article on how to be your own script reader – in the face of your own worst critic and glamoriser.
Seeing as some search engines seem to send seekers of swords to my site, I thought I would oblige for my hundredth post:
Sword #5: Watson’s Sword Cane
Let’s open with a Holmesian example and how a sword may epitomise a man’s character: Dr John Watson carries a deadly weapon concealed within an innocuous gentleman’s cane.
And I bet he can kick serious ass with the thing. I gleefully await the moment in SH2 when he takes out half a room with it. Without even breaking a sweat. Before afternoon tea with Mary.
Sword #4: The Vorpal Sword
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
How can you not love the vorpal blade that destryoyzled the Jabberwocky? It would have me calloohing and callaying for joy too.
So, what do we know about it? Not an awful lot – apart from that it’s pretty vorpal and belongs to the Beamish Boy. John Tenniel’s drawing only hints at a long sword, because he’s too busy fleshing out the manxome Jabberwocky.
Maybe the fact that it snicker-snacks that monster is enough.
Sword #3:Lightsaber (Vader)
Who doesn’t want a sword made of light in funky Seventies disco colours? Yeah, thought so.
The whole sword is a rite of passage. A Jedi must make their own and then carries their handiwork forward as their last defence against sudden death. The lightsaber is shown as the definitive means of deciding the major events of the universe.
An elegant weapon, from a more civilised age.
Sword #2: Andúril
Yes, yes, Geeks United, technically the sword pictured is Narsil, as it is yet to be reformed, but my major love is for Andúril – aka Aragorn’s sword.
The idea of a special weapon being destined for a special person is not new (more on that later…). Andúril is the uniter of kingdoms, the standard behind which Middle Earth marches – and it is a king-maker for our grubby hero, Strider.
Sword #1: Excalibur (BBC Merlin version)
(C) Chris Downer
Few can argue that Excalibur does not deserve the top billing – but many might question the source media.
For those who grew up in a cultural vacuum, Excalibur is the weapon of King Arthur, either pulled from a stone by one destined hand or handed over to him by a “moisten bint” – The Lady of the Lake.
On one side: take me up. And on the other: cast me away. A vital lesson that a leader must know when to fight and when to cease fire.
So, why this particular version? Well…
First off, look at the thing! It’s absolutely stunning is what it is. I particularly like the gold detail.
However, the story of the sword is my favourite part. For those in the dark, in the BBC version of Merlin, Arthur and Merlin are contemporaries during the reign of Uther Pendragon. Merlin is Arthur’s manservant, keeping his magic secret and falling over things. Arthur is noble, a bit of a prat and hits his head. A lot.
When Arthur must face down an Undead Knight, Merlin needs to find him a special sword. He realises one may be forged in a Dragon’s breath. So, he takes a sword forged by Gwen’s father (yes, THAT “Gwen”) and gives it to the Dragon he has handy – on one condition. Only Arthur may wield the sword.
Obviously, like most of Merlin’s plans, this goes pear-shaped and Merlin ends up throwing the sword into a lake to hide it away.
Flash forward to the following year when the boys are in a bigger jam – because Morgana and Morgause have taken over Camelot. Merlin retrieves the sword from the water (via his own undead Lady of the Lake) and kills some undead knights with it (yeesh, that’s a lot of undead for family programming).
However, he then has a further problem: how’s he going to hide the sword again? Oh, here’s an idea – let’s stick it in a rock.
Voila! We have two origin myths with a bonus super-origin to make Merlin’s the best Excalibur known to legend.
Today, I watched the original Sherlock pilot. It comes on the DVDs as an extra, the 60-minute version of A Study in Pink.
*WARNING – EXTENSIVE DISCUSSION OF EPISODE CONTENT. WATCH FIRST.*
My friends told me that it was pretty much the same as the aired pilot, with similar scenes and dialogue, and barely worth watching. When I saw Steven Moffat speak about Sherlock, he said that the unaired pilot suffers badly in comparison to the remake – but that, at the time, execs and distributors were wild about it and couldn’t understand why the creative team wanted to remake it.
My friends are right: the dialogue is exactly the same in places and the set pieces – the meeting at Barts, the pink murder scene, the “date” at the restaurant – are pretty much transferable between the two. And, then again, they’re not.
The entire look and feel of the two pilots is completely different, something that I believe I must attribute to the director. Everything from location to lighting to line delivery is subtly off.
Take wardrobe. Sherlock doesn’t wear all dark colours and is without his mass of dark curls, and John is a lot more modern in dress sense in the original. Sally Donovan wears police uniform and Anderson has a hideous beard and glasses. Same actors and yet they look like different people.
Set dressing and location. 221B looks too modern and the pink murder scene doesn’t have that fabulous staircase. It’s just another terraced house in Cardiff. The Barts meeting is in a computer lab not a scientific laboratory, and Angelo’s is a cosier family restaurant without the open window view of the street.
The lighting is different too. I’m definitely outside my field now, but the aired pilot is darker and harsher with the lighting – almost “glarey” – while the original is softer, more traditionally lit and coloured.
And then acting. They’re the same actors, delivering practically the same lines on most occasions. But the performances and motivations are different. Sherlock is more animated and human in the original, John is less military and reticent. Lestrade is angrier and more commanding. The cabbie seems less master manipulator and more desperate wannabe, even before Sherlock deconstructs him.
Of course, there are also obvious differences. The original lacks Mycroft and Moriaty, so the setup of the rest of the season is absent. It gains Sherlock standing on a rooftop like a vigilante and, the most noticeable difference, is Sherlock being drugged into the cabbie’s clutches. I preferred the choice in the aired pilot – it made Sherlock’s curiosity more palpable. Also, John’s calling of the police was not as fun as his solo chase across London. And the little text overlays are absent. They were one of my favourite things about the Sherlock series and it gained immensely by them.
In conclusion, I believe the original pilot is a good piece of television. It’s solid and watchable – and it would’ve hooked me in. But the aired pilot, the tone set for the whole series, is on the next level and brings a theatrical, big screen flavour to the Sherlock story.
I recommend any filmmaker watch both pilots. It’s a striking example of how another draft, another “what if and the extra mile can raise something good into something great.
You may recall my disgusted review of ‘The Expendables’. When I went to see that film, it was preceded by the trailer for RED, which excited me more than the whole of the nonsense feature that followed it.
On Wednesday, I went to see RED. Half my friends mutinied in Nando’s and decided they wanted to see The Social Network instead. My other friends had already seen that film, and so we decided to continue with the plan.
It was a really good film. An all-star cast that really worked together with believable characterisation and sharp dialogue. It had a classic three act structure, and the turning points were hit well. My one grumble is that while MLP got a lot of screen time, she didn’t do much in the way of awesome. But that’s okay – she doesn’t know how to hold a gun! Give her time (and a sequel?) and I’m sure she’ll be kicking ass and taking names.
And I mention the S word because I think this is one of the few films I’ve seen in recent years where they leave everything open for a follow-up without 1) leaving the original story incomplete or 2) setting it up so blatantly as to make all savvy audience members role their eyes.
In short, go see this film.
Good luck to everyone at the LSWF this weekend. I’m sorry I can’t be there, but the day job sank its claws into me. I look forward to hearing about Laurence Timm‘s The Dead Office and I hope to join you all next year.
But, after reading the Wikipedia article on dashes, I'm just confused. Maybe it's not a valid usage at all: ow.ly/bhx3O6 hours ago
My housemate has just passionately declared that she has never used a dash to separate two sentences. I am speechless. 6 hours ago
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