Nightflyers (1987) Review

 

A group of scientists space voyage goes awry when ship's computer.

Director Robert Collector (credited as T. C. Blake as he left the project during post production) and based on George R. R. Martin's novella, deliver a mishmash of science fiction elements, there's spaceship, spacewalk shenanigans, holograms, cloning and dangerous A. I. Unfortunately, the aesthetic filming choices to give Nightflyer a dreamlike atmosphere and clarity when in space gives it a DTV, TV feel and it loses its filmatic look. That said, the special effects hold up for the most part.

There's John Harrison's 'Day of the Dead' stings synonyms with the 80s, Doug Tim excellent score borrows shamelessly from Vangelis, that coupled with sound effects and Catherine Mary Stewart's voice over; it gushes Blade Runner (1982). It also borrows elements of 2001 (1968) and feels Star Trek The Next Generation which also came out the same year. Yeap, Collector's offering is wall to wall derivative sci-fi ideas. There are hints of a great film but with the budget limitations, not even stunning Catherine Mary Stewart's presence or Des Barres, Avery, Praed's experience is enough to pull it all together

Both Stewart and Michael Des Barres wrestle with Robert Jaffe's muddled clunky script. Lapses in logic (including use of helmets) aside, when the dialogue is flowing - it works, mainly scenes involving James Avery and Glenn Withrow. Des Barres does his best, giving a larger than life performance. Dune-like costumed Michael Praed English tones of Royd Eris echo Ian Holm's Ash in Alien (1979). 

Overall, despite its short comings it's not coherent or engaging enough to be a cult classic, which is a shame given the actors involved. Sadly, the trailer is better.

Book of Boba Fett Chapter 5: Return of the Mandalorian (2022) Review

Spoilers 

When Djarin returns to bounty hunting and searching for for his people, things don’t go as planned and he finds himself back in Mos Eisley, reunited with some old allies.

Directed with gusto, Bryce Dallas Howard’s ‘Chapter 5: Return of the Mandalorian’ is really a Mandalorian episode, which while miss placed nevertheless is a fantastic addition. Written once again by Jon Favreau, he knows how to please long time Star Wars fans while setting new ground. This episode thankfully keeps antics serious, (not including the return of Peli Motto (Amy Sedaris) which is fun in its own way) the with some witty Star Wars infused humour that is on the money.

Mando confesses his helmet removal, which adds plenty of tension and drama. There’s more Darksaber action, Paz Viszla returns demanding a duel with Din Djarin in order to win the blade in combat, which is a highlight. Emily Swallow reprises her role as the Armorer and forges a mysterious gift for Grogu destroying the Beskar Spear. But the icing on the cake is the Naboo starfighter, the type that appears in The Phantom Menace, and Mando’s replacement for his beloved Razor Crest, which travels the old pod-racing course. The special effects, both practical and computer generated are high-end. Chip off the old block Howard’s production is first-rate.

There’s plenty of new visuals and locations, namely a ring-like space station called Glavis. There’s a nod to The Island of Dr. Moreau’s (1996) make-up design in the opening. But synonyms with the series’ there’s loads of callbacks, Gonk droids, Jawas, Rodians, Tatooine, X-Wings, R5, Empire’s probe droids and KX droids similar to K-2SO from Rogue One to name a few. But there’s not only nods to the films but also The Mandalorian, which shows is power of the series cementing it in Star Was live action history. Ultimately, there’s the mention of spice and it finally ends with the inevitable meeting with Fennec Shand .

Overall, while it doesn’t really push The Book of Boba Fett forward, the episode is a handshake to Star Wars and a clever expansion of the Star Wars universe plus The Book of Boba Fett. While expanding both Mando and Fett’s story, it’s also a reminder of how great Pedro Pascal is as and new original character Djarin.

 

Silent Running (1972) Review

 

A crew receives orders to jettison and destroy domes containing a variety of plants, crops and animal life on a spaceship. However, Freeman Lowell, one of four crewmen aboard, the resident botanist and ecologist has other ideas.

Brilliant environmentally-themed science fiction with lead Bruce Dern. Director Douglas Trumbull’s pacing with Aaron Stell’s editing may not be for everyone, but the intimate character building coupled with a melancholic mood is the beauty of Silent Running.

Charles F. Wheeler cinematography is as good as the first rate special effects, both practical and optical especially the spaceries and spacecraft. Peter Schickele’s score complements the outstanding visuals and Dern’s plight.

Written by Deric Washburn, Michael Cimino and Steven Bochco it’s food for thought ingenious entertainment which offers something to think about on many levels. There are plenty of topics, morale dilemmas and poignant questions. Although of its time the robots have endearing qualities, Lowell’s interactions with the robots offer sci-fi with heart. It’s a relationship with A.I. that would later be echoed in Duncan Jones’ Moon (2009).

Overall, Silent Running’s themes become more significant as time goes by, it’s a testament to Trumbull’s debut production as a whole.

The Munsters' Revenge (TV Movie 1981) Review

 

Mixed up with some wax museum robots build for crime, the Munsters must both prove their innocence and expose the true thieves.

Director Don Weis offers a cheap, cheerful unintentionally creepy NBC TV movie, mainly due to the Phantom of the Opera (Bob Hastings) and blank the wax museum Munsters. The Addams Family composer Vic Mizzy offers a fitting throwback score. It’s feels like a Munsters extended episode mixed with a hint of The West World TV pilot. While the brilliant series was disappointingly filmed in black and white, The Munsters (1964) pilot episode and Munster, Go Home! (1966) was filmed in colour. This thankfully was also filmed in standard colour in 1981.

Veteran Weis’ staging is clunky at times, possibly due to budget restraints. The Munsters’ Revenge writers Arthur Alsberg and Don Nelson’s jokes, setups and gags are hit an miss, some are on the money and offer a few chuckles mainly from Lewis and Gwynne. It’s fitting that they’ve included some additional classic horror characters including the likes of The Hunchback of Notre Dame, Igor, The Phantom of the Opera, The Wolf Man and Creature from the Black Lagoon.

Thanks to the original actors, namely the lovable Fred Gwynne as Herman Munster, Yvonne De Carlo (Lily Munster) and Al Lewis as Grandpa Dracula, it’s a joy. Jo McDonnell is likeable enough as Marilyn Munster and K. C. Martel emulates Eddie Munster. American comic and actor Sid Caesar does his best with the script.

Despite The Munsters’ Revenge short comings it’s more enjoyable than the Munsters Today (1988) and heartwarming to see some of the cast reprise their roles.

The Frankenstein Chronicles (2015-2017) Review

 Talented investigator, John Marlott’s life is turned upside down when looks into a series of deaths that lead him down a grotesque path, changing his life forever.

A fresh re-imagining of Mary Shelley’s 1818 novel Frankenstein, reminiscent of the 1994 Frankenstein adaptation in-terms of feel and quality. But is handled less on the nose, with fewer theatrics but just as much gore and mystery. It’s not a paint-by-numbers adaptation, Benjamin Ross directs season one of this underrated series’, and lays down the atmosphere and feel of a grim 1827 London. 

The set design, practical effects, on location feel and period costumes sell it. The CGI mostly used for locations are seamless film quality. The writers including Ross deliver a Jack the Ripper like mystery in the first series, with all the elements of what you’d want from a Frankenstein’s monster based series. But it plays things out in subtle and interesting gory ways. With story twists, turns and surprises it shows a distinct difference between the dirt and squalor of the poor to the rich, the class divides simmers throughout. Of course there’s plenty of god versus science to be had.

Series two is directed by Alex Gabassi and seamlessly follows the same haunting, gory and mystery highs of the first series only this expands themes of death, with visions in keeping with the storyline, set slightly later. There’s more early police politics and clashes with the church. It delves into mysterious deaths, lost sailors, creepy clockwork figures, uncovering the cause of a plague and more.

Sean Bean is outstanding and Richie Campbell is memorable, along with the perfectly cast supporting players who are fantastic. As well as a slew of familiar faces, notable are Francis Magee and LaurenceFox who appear in the second series.

It feels writers knew it was finishing after two seasons and wrap it up fittingly, although you get the impression that it was cut short. Highly recommend

The Card Counter (2021) Review

 William Tell is a gambler and former serviceman released from prison who sets out to reform a young man seeking help to execute a plan for revenge on a military colonel.

Writer/director Paul Schrader offers a immersive arthouse, character driven drama. It avoids all the glitzy settings, putting the underbelly of gambling on display from the point of view of a flawed, troubled, gifted card-counter with no abode on display. 

Oscar Isaac delivers a multilayered method acting performance and commands the screen. Tiffany Haddish does a great turn at acting. Notable is edgy Tye Sheridan. Willem Dafoe screen time is limited but impactful and essential. Robert Levon Been music is completely fitting, like the on location feel adding atmosphere and credence.

Isaac’s voice over is utilised well and welcomed like Schrader’s haunting telling dream sequences. It’s not mainstream viewing and this may be a godsend for some in a flooded market of mediocre, it’s not the greatest film ever made but it’s gripping and well made in its own right.

Overall, its grim, compelling and has a lot to say about the society, the military and revenge without spoon feeding it to the viewer.

Peacemaker: A Whole New Whirled (2022) Review

 To stay out of prison Peacemaker joins a newly set up team. After reconnecting with his political incorrect father and after some team bonding he faces a new threat head-on.

Writer/director James Gunn delivers an entertaining first episode (in the vein of his own Suicide Squad) which pulls no punches, even surpassing Ash vs Evil Dead, certainly in terms of nudity and foul language. It has a film feel and shot on location look which elevates the shenanigans. From the amusing 'previously on Peacemaker' recap and tone setting dance number opening credits, to the character group dynamics and the closing climatic fight, it's a whole new whirlwind of fun.

Debating more entertaining and unique than the first episodes of its Marvel counterparts. In keeping with the awkward character, it's off putting, rude and inappropriate, which isn't a bad thing. The humour is on point with some genuine laugh-out-loud moments. Muscle bound actor John Cena isn't shy to poke fun at himself or the character and appears to be having a blast making it, this comes through on screen. From the action to the wit and character moments, it's sharp, well staged, edited and executed. You can see the potential, there's plenty they can do with the character on his journey of betterment.

Perfectly cast, littered with dark comedy and entertaining cringeworthy moments, Gunn is able to thread in a bit of backstory with his dad and give the character a reason for why he is like he is. It's nicely paced, spending time with the secondary characters without moving on too fast to the next setup or gag.

Overall, it pulls no punches and takes no prisoners. The tone may take you left of field but Cena with Gunn's on the nose script delivers TV gold in this first episode, of course, that is, if tactless superhero vigilantes are your thing.

Blade Runner: Black Lotus (2021-) Review

 

A young female who has amnesia and deadly combat skills tries to find out if she is a replicant or not.

Set in 2032, between Ridley Scott’s Blade Runner (1982) and Denis Villeneuve’s Blade Runner 2049 (2017), Blade Runner: Black Lotus is intriguing brought to life with CGI animation and some decent voice acting. The soundtrack and sound design deserves a mention capturing the Blade Runner vibe. For fans a few familiar characters from the Blade Runner universe appear.

Directed by Shinji Aramaki and Kenji Kamiyama offer some well staged action, stunning visuals and backdrops. The animators capture the futuristic urban, gritty, environments impressively but the characters are less impressive and the computer game-like animation takes you out of the moment (it’s reminiscent of the later CG-animated Resident Evil feature length films).

Overall, it’s just a pity it wasn’t live action or traditionally animated. Nevertheless, if you can get past the CGI style – you’re in for a treat.

The Book of Boba Fett Chapter 4 - The Gathering Storm (2022) Review

 

Spoilers.

In the past Fett plans to break into Jabba the Hutt’s palace to take his ship back. While in the present he goes about recruiting some help and taking control of his territory.

Kevin Tancharoen’s “Chapter 4: The Gathering Storm”, is as immersive as a Star Wars video game, as Boba goes through Jabba’s Palace to get his ship, with some amusing setups involving Bib Fortuna’s droids.

There’s more bacta tank dreams (or a real account of his past). You see how Fennec Shand was saved. The well staged episode offers callbacks in the flashbacks including The (complete special edition) Sarlacc Pit and Return Of The Jedi’s EV-9D9. In the present actor Jennifer Beals returns as Garsa Fwip, also 8D8, Gamorrean Guards and Max Rebo gets to play more tunes. Also there’s a seismic charge used as seen/heard in Attack Of The Clones.

Tancharoen’s Krrsantan fight scene is thankfully more fluid than in the previous episode. Finally we get to see a Wookie pull an arm off. Again Temuera Morrison as the honourable Boba Fett steals every scene especially when getting his property back and just-revenge on the Speed-Biker gang.

Even if a little heavy on the humour, Jon Favreau is on writing form joining the dots of The Mandalorian and setting up the pieces to go to war with the Pykes Syndicate, even hinting at the possible return of Din Djarin.

Overall, with scope and high production values Tancharoen delivers a great episode all-round.

The Green Knight (2021) Review ​

 

Spoilers.

A man takes up a challenge to a give a blow to The Green Knight (which will be returned in a years time to the giver) to win an axe for King Arthur but chooses excessive force. Gawain spends a year revelling before he has uphold his end of the deal.

It is lengthy earthy-looking tale, delivered with avant-garde flair by director David Lower. The production is first rate from the costumes to the set design, the on location feel palpable. Its interpretation of the Camelot lore is as complicated as the wonderfully visuals and exemplary special effects on display.

The film could be seen as the the conflict between mankind and nature or the importance of integrity and goodness over reputation and legacy. Be careful of your actions, or they will be retuned. Karma. Or travel as far as you like, but you'll can't leave yourself behind. Countless interpretations and/or many more.

The cast all bring something to the table, including Alicia Vikander. Patel's performance as Gawain is enigmatic. Joel Edgerton's Lord leaves an impression but his screen time is limited. Kate Dickie as Queen Guinevere is memorably eerie. Sean Harris' take on King Arthur is perfectly understated, unique and fitting. However, Ralph Ineson as the Green Knight steals the show, with echos and vibes of Christopher Walken in Sleepy Hallow (1999).

It is reminiscent of the feel of Valhalla Rising (2009). Lower offers a drawn out quest that has fantastical elements, also themes of tragedy, temptation, heroism and religion. Among the folklore, blood, sex and magic it is beautiful and haunting. However, subjectively it doesn't have the roundness or conventional narrative clout of Excalibur (1981), or pacing of Beowulf & Grendel (2005) or The 13th Warrior (1999) to name a few. It's not stated when it is set, but based on the styles etc Lower rather than place it in the 5th, early 6th century, opts for the 14th or 15th century (when the poem was written). The Green Knight could have been an epic like Excalibur or Kingdom of Heaven (2005), a timeless definitive knights tale and Arthurian legend, but instead it frustratingly travels a curious dreamlike path delivering an experience to be studied rather than enjoyed as a film.

Though the question of Gawain's ultimate fate is left ambiguous, the wording and the fact the Knight does touch him (this could be his return blow) and he does survive in Sir Gawain and the Green Knight, the poem on which it is based, can offer closure for some viewers.

Overall, it's the type of film to watch at least once, a compelling, commendable, unique work of art, but like the works of Alejandro Jodorowsky or Robert Altman it is an acquired taste.

Cobra (1986) Review

 

Unorthodox elite cop Cobretti is tasked with stopping a gang of neo-fascist who are murdering people at random.

Opening with the memorable staged hostage crisis at a Los Angeles supermarket director George P. Cosmatos (Rambo: First Blood Part II) offers an off beat action of its time. Starring and also written by Sylvester Stallone, in the vein of the Dirty Harry and Death Wish films it wants to say something about the violence and the disintegration of society, but any message is lost on the carnage and the disturbing idea what if cult-like killers got organised.

Stallone throws every kitchen stink genre trope into this extremely violent and police thriller. Cosmatos' location shoot feel elevates Cobra, it's a fine looking atmospheric production. The tone is a mixed bag, the pacing is a little off, mostly feeling overlong, but at times, it feels scenes or ideas are cut short as if there was some behind the scene wrangling going on set or in the editing room that seems to spill out onto the screen. At times it wants to be a cool cop thriller, at others a horror slasher.

Stallone delivers a primeval gritty performance. Brigitte Nielsen does a surprisingly great job as victim Ingrid Knudsen (in contrast to her usual steely roles). Brian Thompson oozes a menacing screen presence as the Night Slasher. In the array of familiar faced supporting cast, Marco Rodriguez is memorable as the Supermarket Killer in the films arguably most iconic scene.

Along with the 1986 soundtrack that encompasses the 80s, some setups, visuals, the poster, tagline: 'Crime is the disease. Meet the Cure', cast etc are iconic. But, from the city kills to the small town last act showdown, Cobra plays out like one long trailer moments or a series of vignettes from a better film.

Overall, nostalgia is a funny thing, the memory recall and the idea of Cobra is perhaps is more powerful and enjoyable than the film. It rightly had its success at the time. Like replaying a video game or an arcade classic, as fun as they were, sometimes they're best left to memory.

The Book of Boba Fett Chapter 3: The Streets of Mos Espa (2022) Review

 

Spoilers!  

Boba Fett faces threats from all over Mos Espa, in his palace as well as on the streets.

Chapter 3: The Streets of Mos Espa is another good episode. Cyborgs who are stealing water, dangerous gifts and double crossing. While the action sets ups aren’t as slick as they could be (or not a good as Steph Green’s brilliant episode The Tribes of Tatooine), Robert Rodriguez redeems himself somewhat after directing Stranger in a Strange Land. In a writing capacity Jon Favreau and Rodriguez offer more world building, packed with nostalgia nods. While it doesn’t reach the heights of Chapter 2, it does offer an emotional clout in the Tusken Raiders flashback.

Although Fennec Shand (Ming-Na Wen) and the new cyber-biker gang (with an odd echo of Back to the Future Part 2) have little to do, The Hutt Twins and (from the 2015 comic) Black Krrsantan feature again. There’s a protocol-droid, more 8D8 (voiced by Matt Berry), a Solo type chase, a new Rancor and a perfectly cast (long time Rodriguez collaborator) actor Danny Trejo as the Rancor Keeper– you can’t go wrong.

It’s not perfect. There’s an overuse of slow-motion which does give it an unnecessary cheap and dated feel, mainly during the Palace fight scene. There’s another entertaining (but clunky) chase scene from Rodriguez, this time on speeder-type bikes. There’s a few lapses in logic that die hard fans would surmise and the theorise about. For example the the Wookies infiltration, why are the bikes Earth-like in design, also why does a Wookie need a knuckle duster? Don’t they pull peoples arms out of their sockets? There’s a few fridge logic moments in Favreau’s story.

Will Boba throw a Jabba Return of the Jedi-like party? That’s what we’d like to see, who knows; but one things for sure is that this is a sure fire hit thanks to the production quality, Temuera Morrison’s performance and presence. He picks up the slack where the staging falls short. He may not be the mysterious masked Bounty Hunter that many including myself grew up with, but he is mesmerising as TVs Boba Fett.

Overall, while not as rounded as the previous episode, it’s Star Wars-tastic none the less.

Nine Deaths of the Ninja (1985) Review

Anti-terrorist agents are assigned to rescue a busload of adults and schoolchildren who are taken hostage in the Philippines.

 Director Emmett Alston’s offering opens with martial arts acting legend Shô Kosugi and Brent Huff on mission with explosions, shurikens, hammy deaths and badly staged action; but it’s all is fine, as it’s really only a training exercise. Nine Deaths of the Ninja is the James Bond ninja film of the 80s, the theatrical opening credits complete with female dancers, a smoke machine and a theme tune that Sheena Easton maybe proud of. 

 With an array of periodic weapon play, bow and arrows, nunchakus and sword fights to name a few there’s also ninja traps and surprise deaths. But despite the title, Alston’s insists on trying to make a Bond film complete with wall to wall women, waterfalls, boats, helicopters, jungles, a dwarf, larger than life villains, including a wheel chair bound German baddie. It had its own version of M (played by Octopussy’s Vijay Amritraj) and money Penny-like secretary. Kane Kosugi the child actor from Revenge of the Ninja also appears. Aiko Cownden is notable and Regina Richardson does her best Grace Jones. Leah Navarro appear briefly but Emilia Crow steals every scene.

 It’s a wonderful looking film, with momentary feel good vibes littered throughout, fully utilising the real locations as a backdrop. However, the tone is a mix bag, serious at times, a severed head, an attempted rape, prostitution, kidnapping etc. In contrast to some hammy acting, goofy dialogue and outlandish setups. It’s of it’s time, exploitative, sexist and offensive – at times on the nose, others times without even realising. For a Ninja film it’s talkie with the action scenes few and far between but when they come they’re done well, with gusto and usually with a one liner thrown in here and there for good measure. 

 Overall, worth watching if you’re a Kosugi fan, also if you’ve always wondered what would happen if you mixed Never Say Never Again with a Ninja film and the A-Team.

Band of the Hand (1986) Review

 

Rather than be prosecuted as adults, five juvenile delinquents take part in an experimental program led by a Vietnam veteran, but their former lives and shady ways keep holding them back.

Band of the Hand encompasses the best and worst of 80s like a time capsule, which is not a bad thing. Directed by one half of Starsky and Hutch, Paul Michael Glaser’s crime neo noir film (executively produced by Michael Mann) gives off a Miami Vice vibe with a smudging of Scarface, Lord of the Flies mixed with The Warriors.

Hindsight questionable casting aside, accompanied by a great soundtrack, oozing screen presence actor Stephen Lang leads the band of five, young John Cameron Mitchell, Leon Robinson, Michael Carmine, Al Shannon and memorable Danny Quinn. Lauren Holly is notable. Laurence Fishburne and James Remar play the antagonists. Also cameos Martin Ferrero.

As with the aforementioned TV show and films it is at times a violent fanciful fantasy affair but it’s a journey about growth with a strong story arc. A few deaths offer some clout, the on location feel and set pieces are energetically handled by Glaser who keeps the on occasion caricature shenanigans palatable.

Among the Art Deco, fashion and music, the unsavoury themes, drug use, gangs, prostitution killings and shootouts writers Leo Garen and Jack Baran actually inject a meaningful social commentary. It’s about putting aside bigotry, doing the right thing, working as together as a team and the like. The training in the Everglades as Lang’s Joe put the reluctant gang through their paces pays off in the pacy satisfying last act.

Overall, Band of the Hand while not a perfect film isn’t the poor vigilante movie it’s been labelled as; and possibly should receive more positive recognition as its some of it’s themes are still as relevant as ever. And even if you don’t buy that — it’s worth watching for Lang’s steely intense performance alone.

The Deep House (2021) Review

 

Spoilers!

Two YouTuber divers explore a house submerged in deep waters, but their dive turns into a nightmare as the house reveals its atrocious past.

Directors Alexandre Bustillo and Julien Maury offer a unique take on the haunted house genre. The Deep House takes its time to get going, once the couple get to the submerged house it delivers some jump scares and creepy visuals, but Bustillo, Maury, Julien David and Rachel Parker offer a story we've seen on land many times before. Raphaël Gesqua's eerie, unnerving music and the sound design heighten the tension.

Camille Rowe is notable and offers screen presence, but like a lead singer of a band if you don't take to actor James Jagger voice you're in for a slog, as his tone carries much of the film's exposition and momentum in the third act.

Clearly a lot of work went on behind the scenes. Yes, the novel setting makes it entertaining. It's wonderfully filmed but the novelty wears off quickly, that said, you can't fault it for its ambition. Certainly from a technical level. However, imagine those countless underwater cave and shark survival horrors mixed with every haunted house film there is and you'll get the gist. The down beat finale offers grim horror viewing echoing the likes of 47 Metres Down, Open Water 3: Cage Dive or the Descent to name a few. But in true horror fashion (after the credits) there's a quick scene that sets up a sequel.

Overall, credit to Bustillo and Maury The Deep House is a technical marvel, but it's one of those films you'll either love or hate depending on how engaged you are by the concept and mixing of sub-horror genres.

Zone 414 (2021) Review

 Private investigator David Carmichael is hired to track down a missing person and teams up with an advanced humanoid A. I. to guide him through Zone 414, a dangerous city of robots.

With echos of Blade Runner and Blade Runner 2049 in terms of themes, director Andrew Baird and writer Bryan Edward Hill offering hits a sci-fi nerve. With heavy sound design, accompanied by Raffertie’s edgy music, Baird delivers an atmospheric moody piece with some great locations, sets and effects.

Thanks to James Mathe cinematography (even if a little clinical at times) it has interesting visuals. It tries to find it’s own identity, but by default finds itself emulating some classics. Which isn’t a bad thing, when it’s upfront and paying homage. Beneath some of the light theatrics of Zone 414, it borrows from the aforementioned films and some elements are reminiscent of; or in the vein of: Vice, Split Second, Cherry 2000, Westworld, Nirvana and The Machine to name a few.

The cast are solid enough, Jonathan Aris is on form and Olwen Fouéré leaves an impression, but like actors Jóhannes Haukur Jóhannesson and Colin Salmon they are sorely underused. Travis Fimmel is almost unrecognisable under make-up and has fun hamming it up as the filthy rich eccentric Marlon Veid. Antonia Campbell-Hughes who plays multiple versions of the same A. I. deserves a mention. Even though void of big action setups lead Guy Pearce offers plenty of weight and credence to the production and stops Zone 414 becoming a trope filled old hat. There’s also a good performance from Matilda Lutz as emotional A. I. Jane.

Sadly, leaving some interesting character beats until late in the game takes the edge off the twists and turns which hampers the pay offs. Editor Tony Cranstoun’s pacing is in keeping with the somber tone, but the handful of inserts of David Carmichael’s interview is debatably unnecessary, and may have sat better chronologically.

Overall, it’s a grower, it tries to give superior sci-fi thrillers a run for their money and certainly surpasses the numerous low budget CGI driven science fictions that find there way to VOD streaming platforms.

The Book of Boba Fett Chapter 2: The Tribes of Tattooine (2021) Review

 

Spoilers!

Boba Fett must turn from a bounty hunter into a warrior while stopping the persecution of his saviours in the past and facing a power struggle in the present.

Wonderfully directed by Steph Green this episode flows much better. Jon Favreau writing offers Boba’s relationship strengthening with the Tuscan Raiders. We get to see how he learned his stick skills and gets his garb in The Mandalorian and he also show the skills off. There are some moments of humour with the Sand People that are on the mark, especially when learning how to ride speeder bikes. With this episode Green and crew bring film quality visuals to the small screen. A niggle is that with more flashbacks it may have played better with the series running chronological as we saw what he transitioned into in The Mandalorian. The Sand People story first then to the present day escapades may have worked better.

The action fight scenes are well-choreographed, special effects and production all click into a great exciting episode. The bar and train setup are particularly memorable harking back to good old Westerns. The present setting with Fennec Shand along with Boba’s Gamorrean guards and 8D8 don’t get much screen time, but what there is—is brilliantly executed. Max Rebo again pops ups. We’re introduced to Jabba’s twin cousins, while still not as aesthetically pleasing as Jabba in Return of the Jedi, the CGI is light years ahead of The Phantom Menace and Hutt’s insertion into A New Hope, it’s done well. The bulked mysterious Wookiee, Mayor and other aliens are outstanding.

Temuera Morrison delivers another gritty performance as Fett especially when helping to develop the Tuscan Raider tribe and learning about their culture. There are the usual nods to the universe Star Wars saga, here even a few callbacks to Solo: A Star Wars Story. The hallucination sequence including Kamino is interesting.

Overall, with Favreau back on his game, after the ropey first episode, Green offers the series a complete return to Star Wars form with a strong episode both visually and in terms of story. Thank the maker! A return to the magic of Star Wars.

Resident Evil: Welcome to Raccoon City (2021) Review

 

Spoilers!

After a virus outbreak in a small town in 1998, a group of survivors try to escape with their lives. 

 Director/writer Johannes Roberts' adaptation delivers a big film feel on a modest budget with visual flair. Without drawing comparisons to Resident Evil (2002), what's palpable about Roberts’ (47 Meters Down) offering is the John Carpenter vibe, from The Thing-like monster effects to echoes of Assault on Precinct 13. This coupled with an infusion of George A. Romero's DNA; you can tell Roberts knows what atmosphere he's creating, as well as encompassing callbacks to the games on which it is based.

 The creepy orphanage scenes offers that modern horror feel, along with plenty of action, the special effects, especially the practical effects work. The sets ups are great from the opening hit and run to the attack on Claire in the house. The car park, mansion shoot-out and jail scene are also striking. With more visual references to the game than you can shake it stick at. There is a good mix of horror action, even if the run time feels short. 

While Resident Evil: Welcome to Raccoon City's character development is a little rocky, pacing especially in the last act and the script a little bumpy. The City feels more like a small town. The ending feels borrowed from countless others including the likes of The Crazies, Return of the Living Dead. Nevertheless, zombie and "Nuke 'em" tropes aside all is forgiven with the brilliant attention to detail nods and eerie atmospherics from the outset. 

The cast to a great job, Kaya Scodelario is on form as Claire Redfield and Tom Hopper's Albert Wesker is notable (and gets a obligatory mid-credit scene). Hannah John-Kamen's Jill Valentine doesn't get enough to do. Avan Jogia's take on Leon S. Kennedy, who teams up with Claire is likeable. Actor Donal Logue as the chief of police Brian Irons is memorable. Neal McDonough delivers his usual bad guy effortlessly. 

 Overall, a few niggles aside, while not perfect, it's a solid enough reboot and a homage to both the horror genre and the games respectively. Recommend.

Happy New Year: Terminator, Aliens, Miami Vice and beyond.

 

 Firstly, thank you for all your shares, purchases and simple interactions. Word and mouth even via digital channels is so important. Shadows of Dismemberment was a highlight of last year, probably my favourite novel to date.

With saying goodbye to 2021 I wanted to part virtually/spiritually with some projects that niggling amounted to very little. Well, that’s not quite true. They were fun but took a lot of energy, time and sometimes money. I always try and make announcements after something is completed. It’s all about ‘doing’ unless specifically commissioned or contracted. I’m not about ‘I’m going to do this or that’, I’m more about, ‘look what I’ve/we’ve done’ you may like it — here it is. I’ve always tried to do that.

It’s no secret I’ve pitched, Terminator, Alien/Prometheus sequels, even proposed a Miami Vice final 112th Episode or a backdoor pilot to season 6. (All of these are available to read on request, in a ‘fan fiction’ capacity, as I have no rights over the characters.)

These weren’t a waste of time, I love the characters and the world they live in. But it’s a hard business, that’s show business, c’est la vie.

Your health and happiness are the most important and if you’re not enjoying that chase, stop and do something else.

I create worlds and characters. Some are better than others. Some are more successful than others. When asked for advice, I said over a decade or so ago; ‘believe in yourself and keep plugging’. That advice hasn’t changed. But don’t try and swim the ocean, build the right boat first and sail, you may never find land, but you’ll always stay on top.

I’ve no releases due for 2022, (that’s another story) but please check out Shadows of Dismemberment; and if you’ve already read it please review and spread the word.

Thanks again. 

Happy New Year! 

A. M.