Boxset Bingewatch: Battlestar Galactica, Veronica Mars, Star Trek: Discovery, Star Cops, I Claudius, Game of Thrones, The Expanse and more
From the look of the website it may seem like it was a very quiet end to 2020 and that the lack of new reviews indicates I can’t have been watching very much. In fact the reverse has been true, and I have been watching more than ever.
Longtime readers of Taking The Short View will know that I’ve never really into ‘bingewatching’ boxsets, feeling that to power through multiple episodes of a show every night rather demeans and devalues the content. Well, coronavirus has changed that. With most of us under lockdown restrictions of some degree or other for months now, and new first-run shows thin on the ground due to the impact of COVID on television production, there really hasn’t been much option other than to fill up the long dark evenings with as many episodes of extant shows as possible. And of course, as everyone who has made this jump in media consumption will tell you, once you’re over the initial barrier to bingeing it soon becomes an addictive habit and all prior reservations melt away.
In my case I’m still very much a devotee of physical media (DVDs, Blu-Ray) rather than streaming. Fortunately I have a big collection of discs including many TV series that I haven’t fully watched despite owning some for a decade or more. Coronavirus therefore gave me the opportunity to plunge into the stockpile, and I return from this time of excavation with the following brief(ish) reports from the coalface… Read the rest of this entry »
Contains spoilers for the episode
It’s probably a measure of just how completely Christmas and New Year had been turned upside down by the coronavirus pandemic restrictions that I found I had very little enthusiasm for anything this year, to the extent that even the latest New Year’s Day Special edition of Doctor Who felt strangely underwhelming, and even almost out of place.
The show itself was curiously lacking in any sort of festive trappings (I don’t think it mentioned the holidays at all, which is unusual in the recent history of Doctor Who specials), and rather than presenting itself as being the start of a bold New Year it actually felt more like an end-of-term report card, tying off loose ends, generally looking backwards rather than forwards. Read the rest of this entry »
Contains some spoilers
Given the impact of coronavirus on the entertainment and hospitality sectors, it’s no surprise that the film industry has been particularly badly hit since March. Some films have had limited runs in socially distanced cinemas while others have been released on streaming services, but the overwhelming majority of studios have pulled first-run films hoping for better conditions in 2021. Among those playing safe is the new James Bond film, originally scheduled to come out in April, then pushed back to November, and now hoping for a release in 2021. As for Marvel? No superheroes for us anytime soon it seems, they’re sitting the pandemic out.
The one blockbuster that dared stick its head above the parapet and go for it this year was Christopher Nolan’s Tenet, a high-concept genre film in the style of Inception and Interstellar rather than the more conventional Dunkirk, and sharing those films’ fascination with playing with time – something that goes back to Nolan’s first full-length feature film Momento. I confess that Tenet didn’t tempt me back into the cinema at the time, but the home media release came just in time for Christmas and so that was my choice of viewing over the holidays while others watched Strictly Come Dancing and Call The Midwife.
There’s a strong case that Tenet is best experienced with as little advance knowledge as possible, and to an extent I agree. However I also find that a lack of basic information about a film puts me off going to see it. And in the specific case of Tenet, one of the big complaints is that it’s so complex and baffling (and with sections of hard-to-hear dialogue) that it’s impossible to understand on first viewing, so perhaps a little briefing ahead of time is a good thing. It’s your call when it comes to deciding whether or not to read the reist of this review. Read the rest of this entry »
Contains some spoilers.
The coronavirus pandemic has obviously had far-reaching repercussions for pretty much every aspect of life, not least the world of arts and entertainments. The next full season of Doctor Who for example almost certainly won’t now make it to our screens until 2022 because of the delay in the start of filming. But it’s not all bad news, and indeed this year has actually been rather a good one for fans of the original classic series.
We’ve had the release of the 1976/7 Season 14 on Blu-ray which included some of the best-loved Tom Baker serials including The Deadly Assassin, The Face of Evil, The Robots of Death and The Talons of Weng-Chiang. It sold out so absurdly fast (totally unavailable to order a full two months before release!) that it had to be re-released a second time shortly thereafter – and that sold out almost as quickly. Let it not be said that there isn’t a market for this sort of thing.
There’s also been the unprecedented release of not one but two animated reconstructions of ‘lost’ serials in quick succession. This arises from the BBC’s policy at the end of the 1960s and early 1970s to wipe master tapes of old productions that were thought to have no conceivable rebroadcast value in the days before home media. Over a hundred episodes of Doctor Who were among the material destroyed – a disproportionate number of them starring Patrick Troughton – and while a few have been unearthed and recovered in the years since, there’s still 97 of the original 253 episodes missing from the archives with no realistic chance of copies turning up. Read the rest of this entry »
One part of history that has always held a particular fascination for me is that of Weimar Germany/. It’s the period following the country’s defeat in the Great War, through the twenties and into the Depression, setting the scene for the rise of Hitler’s Nazi Party. It’s a society modern enough to be recognisably like our own, but twisted and bent out of shape by Germany’s humiliation of losing the war, the economic collapse caused by the excessively punitive terms of the Treaty of Versailles, and the consequent societal degeneration leading to the rise of organised crime. And yet despite all these hardship, Berlin streets and nightlife were fizzing with an almost manic energy, while the country’s embryonic motion picture industry was producing some of the greatest expressionist movies of the silent era with the likes of Das Cabinet des Dr Caligari, Nosferatu and Fritz Lang’s Metropolis and Dr Mabuse masterpieces.
It’s within this world that Babylon Berlin is set – a dangerous, delicate time for the fledgling Republic which is under siege from violent anarchist groups of all political persuasions. The lead character of police Inspector Gereon Rath (Volker Bruch) is very much of the centre of it all, determined to do his duty without fear or favour to anything other than justice and the sense of what’s right. But Germany in April 1929 is not the place for a man of principles to stand on one’s own, and Rath soon finds himself stained by and implicated in crimes no matter his best intentions. Read the rest of this entry »
We’ve had quite a few articles about Agatha Christie on Taking The Short View, from the Hercule Poirot films featuring Albert Finney and Peter Ustinov and a new version of Murder on the Orient Express starring Kenneth Branagh, to the more recent (and divisive) BBC adaptation of The Secret Adversary plus stand-along stories such as And Then There Were None and Witness for the Prosecution.
But with a solitary exception, the other major Agatha Christie character of Miss Marple has been somewhat overlooked here, and I thought it was time to set that right – not least because the stories that featured her were my earliest Christie loves. To a seven year old boy growing up in the seventies, the idea that Nanny might be some sort of supersleuth in disguise solving crimes from the comfort of her armchair in the corner of the living room was just too wonderful.
The character had already made it onto the screen as long ago as the 1960s with Margaret Rutherford in the key role. Her portrayal of Miss Marple is about as accurate to the books as Roger Moore’s James Bond is to Ian Fleming’s novels, which is to say not even close. And yet I have a deep affection for the four Rutherford films made by MGM, just as I love some of the Moore 007 outings out of all proportion for their actual merits. Read the rest of this entry »
The 2008 film Quantum of Solace is probably my least-watched entry in the James Bond franchise. The earliest films – Connery and Moore – I must have seen dozens of times each, but with Quantum it’s possible that I haven’t viewed it since I was profoundly disappointed seeing it at the cinema at the time of its original release. I’ve felt no need to revisit it, because it had been such a disappointing experience first time around.
But this week I did finally get around to watching the film again. And I’m going to do something I rarely have cause to do here on Taking The Short View, which is: to change my mind quite radically, with an apology to the film for more than ten years of ill feelings that it turns out – much to my amazement – it didn’t altogether deserve. Read the rest of this entry »
The news that this month marks the 40th anniversary of Star Wars: The Empire Strikes Back would definitely have made me feel very old, if only I hadn’t already felt positively ancient long before this. Can it really be four decades since one of my all-time favourite films first premiered? In my mind I still think of it as being “the new Star Wars film” even after all these years!
Naturally our friends over at Generation Star Wars are celebrating the occasion in their usual understated fashion, bouncing around the place like a bunch of three-year-olds overdosing on industrial quantities of Haribo. Or maybe that’s just down to me feeling old again? Baby Yoda is proving to be a particular troublemaker, I can tell you!
Happily, I was honoured to be asked to contribute to a discussion with long-time friend of Taking The Short View and frequent collaborator John Hood to discuss our memories of the film – possibly the best cinematic sequel of all time? – as well as what we remember of the first time we saw it, and some of the happy days we had with all those 1980s toys and merchandise.
Vienna Blood is a three-part period crime drama that slipped into the BBC Two schedules last autumn while Taking The Short View was treating itself to an impromptu six-month nap. Not having heard of the original series of novels by Frank Tallis I didn’t have particularly high expectations, and the first 15 or 20 minutes led me to the snap conclusion that this was just another Sherlock wannabee – perhaps not surprising as the showrunner and lead writer is Steve Thompson, who worked on that show along with Steven Moffat and Mark Gatiss and who also contributed a number of Doctor Who scripts during Moffat’s tenure on that show.
Something kept me watching through that first 90 minute episode, however, and I found myself being slowly won over. So much so that I made a point of watching the next two stories as well, and ultimately my only regret was that I hadn’t given the series my full attention from the start. I ended up buying the original novel, and resolved to give the series a proper second full chance on BBC’s iPlayer at some point in the future. And as luck would have it, the BBC has now handed me the perfect opportunity by selecting Vienna Blood for a rapid rerun to the screen, presumably as a stopgap to bolster its lockdown-hit schedules.
The series principally revolves around the character of Dr Max Liebermann (a stand out performance from Matthew Beard), a brilliant young medical student in 1900s Vienna who is a particular devotee of the controversial work of Sigmund Freud in the fields of psychoanalysis and neurology. While his views are frowned upon by the stuffy and staid hospital establishment, they make him an ideal pioneer in the field of forensic psychology and criminal profiling – and consequently an asset to the work of senior police detective Oskar Reinhardt (played by Jürgen Maurer, a familiar face on Austrian television) who is immersed in some particularly complex and baffling murder cases. Read the rest of this entry »
Despite the fact these days that it’s a truth universally acknowledged that Back to the Future is one of the all-time classic movies of the science fiction genre – of which I was a huge fan, especially in the 1980s – there’s nothing particularly unusual or especially noteworthy in the revelation that it was a film I completely missed out on seeing at the time in the cinema. The same thing happened with Raiders of the Lost Ark after all, and in both cases I ended up seeing their sequels on the big screen years before finally catching up with the originals. In fact it took me almost 20 years before I finally got around to watching the first Indiana Jones film properly; and the truly horrifying admission is that it’s taken be almost twice as long to finally get around to cueing up Back to the Future for viewing.
I’d always intended to watch the film one day. It’s just that ‘one day’ didn’t come around until this week, nearly 35 years after the film’s original theatrical release. And it’s not like I have a good excuse for my tardiness: the film has been endlessly rerun on television and easily available on home media for decades. As a result of cinematic osmosis over the years I’ve become familiar with all its key ingredients: from Marty McFly to Doc Brown, the time travelling DeLorean and the flaming tyre tracks, the small-town square with the eternally stopped courthouse clock, and the accidental invention of rock ‘n’ roll at the school dance. In fact in many ways I ended up knowing the film too well despite never having seen it. Instead I developed a version of it in my own mind that was exclusive to me: it was just something that we used to do things back then, in the days before ubiquitous home media availability made that sort of memory reconstruction and retention surplus to requirements.
Perhaps that partly explains why ‘one day’ was pushed further and further back, for fear that watching the real thing wouldn’t measure up to the idealised version that lived in my head. But still, I’m the first to admit that leaving it 35 years was really getting a bit ridiculous. It’s a longer gap in time than Marty McFly travels into the past in the film itself! So this week I retrieved the Blu-ray that’s been sitting on my shelf for the last ten years (and which in turn had replaced an earlier, similarly unwatched DVD boxset), inserted it into the player and finally pressed ‘play’ with crossed fingers that after all this time and anticipation it wouldn’t turn out to be a crushing disappointment. Read the rest of this entry »
Contains some mild spoilers for the aired episode
I was intrigued to see that ITV had decided to revive its hit 70s detective show Van der Valk for a limited three-part run of new 90 minute dramas starring Marc Warren as the titular character. Intrigued, but not particularly optimistic to be honest. That’s because I was never much of a fan of the original, which always seemed rather mediocre to my mind. I was too young to see it when it was first broadcast but I’ve caught up with early episodes on DVD and on the fantastic free-to-air Talking Pictures digital channel, and even by the standards of the day the pacing of the stories is positively glacial.
What the original series did have on its side were three key assets: the Amsterdam setting and location filming (hugely exotic back in those days before the advent of the ubiquitous city break); Barry Foster’s crisp and charismatic central performance as Commissaris Piet Van der Valk; and the iconic “Eye Level” theme tune that became a big chart hit for the Simon Park Orchestra on multiple occasions. The good news is that the new series returns to Amsterdam for the purposes of filming, and director Colin Teague makes the city look absolutely splendid including scenes filmed in the world-famous Rijksmuseum. Sadly Foster has passed away but I found Warren a perfectly fine replacement, bringing his own hard-to-like cynical edge to the character to maintain a reasonable amount of interest.
Unfortunately the “Eye Level” theme is almost entirely absent, although its echo can just about be heard as a light refrain under the main titles. It seems a weird decision to excise it; it’s like reviving Doctor Who without Ron Grainer’s music, or a James Bond film stripped of the instantly recognisable Berman/Barry 007 guitar riff. When American TV rebooted shows like Hawaii Five-O and Magnum PI, great care was taken in updating but fundamentally retaining their respective iconic theme music. However I think I can understand why the makers of the new Van der Valk change things here, at least to a degree: the “Eye Level” music is simply too distinctive and frankly rather dated, and was always anachronistically jaunty for the purposes of the show itself. Unfortunately the 2020 replacement music by Matthijs Kieboom is all low droning chords restlessly seeking but never stumbling across a memorable tune. Dull, boring, generic, unnecessary and entirely forgettable – the very same adjectives that could be used to describe most facets of the first episode of the new Van der Valk, which is solidly made but ultimately disappointing. Read the rest of this entry »
They really don’t make films like this anymore. And I mean that quite literally. Once upon a time cinema was full of crime stories, film noirs, paranoid suspense thrillers, police procedurals and whodunnits. But those days are long past and today such fare has been consigned to the small screen, replaced by explosive blockbusters, bombastic superhero films and dazzling science fiction franchises. When stalwarts such as Sherlock Holmes or Hercules Poirot do venture back into cinemas it’s invariably as radically amped-up versions of their old selves possessed of near-superhuman mental and physical prowess.
Knives Out is testament to writer-director Rian Johnson’s current standing in Hollywood, that he was able to get this relatively small scale passion project off the ground and to bring such an impressive Hollywood A-list cast along for the ride. And you can see why something so comfortingly familiar, small-scale and old-fashioned would appeal to Johnson as a way of recovering from the critical bruising he took from his work on the divisive Star Wars VIII: The Last Jedi.
The film is firmly and knowingly located in Agatha Christie territory, harking back not just to the Finney/Ustinov Poirot films of the 70s and 80s but also the likes of the socially biting Sleuth and the playful Deathtrap. and more recently with Downton Abbey forebear Gosford Park. Each of these films delivered a murder mystery with a healthy side serving of comedy, and it was indeed in the comedy category that Knives Out won a handful of Golden Globe Awards in 2019. But here the humour is generally subtle and wry (one scene has a suspect in back of shot trying to throw away a key piece of evidence, only for a friendly guard dog to see it as a game of fetch and dutifully return it to the crime scene) and not nearly as broad as, for example, Neil Simon’s Murder By Death which comprehensively parodied and skewered every known detective archetype then in existence. Read the rest of this entry »
Contains some mild, general spoilers for the first season
In the run-up to Christmas, the BBC aired its prestige adaptation of HG Wells’ classic 1898 science fiction novel, The War of the Worlds. There had been high hopes for it as the first screen version of the story to be set in the source work’s time and English home counties location, but alas the production proved to be deeply flawed and failed in just about every respect, either in its efforts to be a faithful version of Wells’ book or as a bold new reimagining. It was, to put it simply, rather a mess.
As it turns out, we didn’t have to wait for long for another War of the Worlds (note the removal of the definitive article this time around) to come along and sluice the bitter taste of the BBC adaptation’s failure from our mouths, with French production company Studio Canal in association with Fox Networks Group providing a brand new eight-part vision of the venerable tale. I’ll say upfront that Misfits writer Howard Overman’s show is a much stronger dramatic presentation than last year’s dead on arrival effort from the BBC, with some interesting and distinctive elements. However, it has to be said the trade-off for this medium level of success is that any resemblance to the contents of HG Wells’ novel is entirely coincidental.
For one thing, there’s a distinct lack of ‘war’ involved. The first episode depicts the arrival of the aliens in much the same way as Independence Day (with certain similarities to Contact) as the attack is heralded by a mysterious throbbing signal, followed soon after by fireballs falling from the skies which wipe out most of humanity on the spot in something resembling a deadly EMP blast, leaving just a few lucky survivors who happened to have taken sufficient cover in advance. Read the rest of this entry »
It’s not been all that long since the end of series 12 of Doctor Who and our last update here on Taking The Short View, yet in that short time it seems like the world has been turned upside down in every conceivable way.
Cinemas were among the first business to have to shut down because of the spread of the coronavirus pandemic, followed soon after by ‘non-essential’ retailers including shops selling both new and used books, CDs and DVDs/Blu-rays. Even television has been hit, with long-running dramas having to shut down production for the duration. Streaming and download services have picked up some of the slack of course, while those of us of a more old-fashioned disposition have rediscovered the value of having extensive home media archives crammed onto groaning shelves around the house.
One new release that did just squeeze under the wire before the general shutdown was the latest addition to the BBC’s Doctor Who home media range, “The Faceless Ones. I’d pre-ordered it weeks before the release date, when coronavirus was completely unknown, and was pleasantly surprised when it turned up on my doorstep just when everything was going to hell in the proverbial handbasket. It’s been a welcome distraction, and the viewing of the episodes strictly rationed to eke out the pleasure of watching a ‘new’ Doctor Who tale for the very first time. Read the rest of this entry »
Contains major spoilers and scattershot speculation
So, that happened. Now the only questions that remain are exactly what did happen, where did it all came from, and what it means for the future. And does the final outcome live up to the pre-broadcast hype that ‘everything changes’?
Certainly you could hardly get more night and day than this year’s run of episodes compared with its season 11 predecessor. When Chris Chibnall took over the reins of the show, the declared intention was to make Doctor Who open and accessible to all once again. It planned to do so by doing away with the disconcertingly convoluted timey-wimey plots spanning one or more seasons, dispensing with recurring characters, adversaries and monsters, and cutting out the relentless deep-dives into the series history that had hallmarked Steven Moffat’s tenure as showrunner. While well-intentioned, the end result was somewhat divisive with many fans unhappy with season 11’s sudden change of direction, leaving them feeling that the approach had resulted in a run of disconnected and fragmented episodes that lacked dramatic heft. Whether they were right in this verdict or not, the question today is whether this adverse fan response to season 11 resulted in a major rethink in approach by Chibnall and his production team, or whether it was always the plan all along to go down this entirely different road in 2020. I suspect it’ll be a long time before we know the truth of the matter either way.
What’s beyond doubt is that this series has gone all-in on bringing back familiar characters and monsters and complex plotting, and most of all using the series’ own continuity to a degree that even Moffat would likely have baulked at. The season finale leaned heavily for inspiration on three seminal stories from the 1970s, and on the never-realised plans for the show that were cut off by the series being cancelled (or: never actually renewed) at the end of 1989. Let’s take each of these influences in turn. Read the rest of this entry »