Contains some spoilers, but tries to avoid the really big ones
Longtime readers of this blog may recall my problem with the Marvel Cinematic Universe, in that I fell so far behind in the unrelenting run of films that I eventually gave up and just let the MCU ship sail on without me. However I did make an attempt to get back on board by watching all of the seven Phase 1 films (Iron Man, The Incredible Hulk, Iron Man 2, Thor, Captain America: The First Avenger and Avengers Assemble) in the first half of 2019, with the full expectation and intention of moving on to Phase 2 later in the year or early in 2020.
Unfortunately that didn’t happen. You’d think that the advent of coronavirus and the global lockdown would have made this easy to do, but in fact the reverse was true. Thoroughly distracted by real life, I never got around to watching any more MCU films during that period. But finally, with things returning to normal in the world, I once again felt the pull of destiny to get me back on target with the next sequence of Marvel’s superhero juggernaut. Surprisingly this consists of just six films in total, of which I’d actually previously seen and reviewed two. But let’s start at the beginning, which returns to the safe shores of the very first entry of the MCU franchise…Read the rest of this entry »
One of the mainstays of Taking The Short View in recent times has been coverage of the latest new series of the BBC’s adaptation of Father Brown starring Mark Williams which invariably pops up on the daytime schedules in the UK at the start of the year. Indeed, I’ve even described this as being one of the most reliable signs healding the end of the Christmas holidays and the proper start of a new year.
And yet this year it’s conspicuous by its absence, giving rise to too frequent questions in the last few months.
The first being, has Father Brown been cancelled or will there be new episodes at some point? I’m happy to confirm that the show is alive and well, and it had already been renewed for a ninth season which was originally scheduled to start principal photography in March 2020. Unfortunately that’s when the coronavirus pandemic reared up, and filming had to be shut down indefinitely.
However I’m delighted to be able to report that the series is now back in production, with actor John Burton (who plays Sgt Goodfellow) tweeting on April 19 that the cast and crew were finally back at work on location. He’s been posting regular updates from the set ever since, while assiduously avoiding anything that might constitute spoilers. The latest word is that the new season will be complete by December and hopefully on our screens not too long after that.
As for the second question: when that happens, of course Taking The Short View will be there to provide you with the latest updates and regular thumbnail sketches of each of the new episodes as they air. Just like you, we’re looking forward to getting back on the Kembleford beat just as soon as we can.
Contains generally only very mild spoilers
I’ve been a Star Trek fan for as long as I can remember, which includes memories of watching the show’s early broadcasts on BBC One in the early 1970s. I endured rather than enjoyed the cartoon spin-off and then really took to the motion pictures which began in 1979. But it was Star Trek: The Next Generation and its contemporary siblings Deep Space 9 and Voyager that I really embraced as my own.
The 11th film Star Trek Nemesis released in 2002 was the last outing for the TNG-era crew; since then the follow-up films and series have been a mixture of prequels and alternate timelines (and possibly both, depending on how Discovery and Strange New Worlds precisely fit in) and while they have their strong points I confess I’ve never felt that these are still “my” Star Trek although I’ve been happy of late to see Discovery increasingly leaning into the old Trek ethos after the noisy, flashy diversion of the JJ Abrams years.
The latest spin-off show is the first time since Nemesis to return to the setting and characters of the TNG period. It wasn’t until I settled down to watch the first episode that I realised just how much I had missed it, and how much it meant to be able to revisit some familiar faces and check in to see how everyone is doing. Not that it’s been a case of “happily ever after”, as it happens.Read the rest of this entry »
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 »