Category Archives: Reviews

I’ve Started…

Over the years, I’ve appeared on a few TV quizzes, including victory in an episode of 15-to-1 that is thankfully lost to the mists of time—thankfully because of the terrible goatee I sported back then. One show that I would still love to appear on is the venerable Mastermind, BBC’s extra-dramatic test of general knowledge. Just the contestant seated in a black leather chair under the spotlight, as questions are fired at them.

One nice little touch in Mastermind has become the show’s catchphrase: should the final buzzer interrupt a question, the host will still let the contestant answer, with the phrase “I’ve started, so I’ll finish.” Thus there’s no frustrating sense of being cut off, and the contestant’s fate remains in their hands, not those of the inexorable progress of time.

This twist on the quiz format fits my psychology well. I’m a completist, and I get irritated when I can’t wrap my affairs up neatly. (Not to the point of being obsessive-compulsive, though you will occasionally find me straightening the salt and pepper shakers during dinner.) The main impact of this is that if I start reading, or watching, or participating in something, I don’t like to step away until it’s finished.

Given that TV shows and book series can turn bad during their runs, this isn’t the happiest of traits to have. Spending my time and money on entertainment that makes me feel resentful instead of happy isn’t logical behaviour, but the fallacy of sunk costs has a powerful grip. If I give up, aren’t I just admitting that I’ve wasted the effort and attention I’ve already committed? Having come so far, I may as well see things through, right?

Like most personal flaws, once you’re aware of it, you can take steps to rectify it. I’ve gotten better over the years at walking away from activities that I’m not enjoying any more. Not that I’m perfect though. If I’m quitting a TV show, I’ll still watch to the end of the current series. I might abandon a book series if I’m not enjoying it (Robert Jordan’s Wheel of Time was the first I did this with), but I’ll still finish an individual book, no matter how much the experience drags.

My recent diagnosis was a reminder that I need to get better at this. Though the initial impact has faded away, replaced by a return to something resembling normality, the reminder that the time we have available to us is finite still lingers. Wasting time on activities that I’m only persisting with out of a misplaced need to have a tidy ending isn’t a worse idea than it was a few months ago, it’s just that I’m more aware of how bad an idea it is.

This shouldn’t require some grand audit of how I spend my time, either. Just a metaphorical tap on my shoulder any time that I find myself bored or annoyed at a time when I ought to be engaged with whatever I’m doing. Do I really need or want to be doing this? And if not, what could I be doing instead? (This includes nothing—allowing myself time to recharge and decompress is better than spending my time busy when I’m achieving nothing more than winding myself up.)

So, unlike that metaphorical contestant on Mastermind, I don’t always have to finish. I can just walk away if I want to. Though in one particular instance, I might decide to finish properly. You see, the main reason I’ve never been on Mastermind is that my brother works for the BBC—an organisation that’s a bit touchy about potential impropriety. But it seems that an external company has now taken over the show, so that bar to my participation is no longer an issue. Next time they’re looking for contestants, I might just see if I’m a good fit for that black leather chair.


Cancer Update

Missed a week, didn’t I? That was careless of me. Still, it hasn’t been a fortnight filled with incident, so you’re not missing too much. I’m just about finished my fourth week on (and hence first pack of) Alecensa, and the major side effect has been a reduction in my average heart rate of around 10bpm. You’ve probably heard enough about my digestive issues already, so on that side let’s just say that everything is under control with only minimal interference on my part.

I’ve also been putting on a bit of weight, though whether that’s down to my lowered metabolism or the fact that I’m back at a workplace which is keen to provide as many meals and snacks as possible is hard to say. Maybe both. In any case, a visit to the doctor in midweek suggests that the cancer has paused its advance, though more detailed results won’t be forthcoming until early April. Until then, let’s hope for smooth sailing (and an absence of coughing).

New Year, New Movies

As promised, something a little lighter. The turn of the year brings with it Oscar season and a swathe of awards-bait movies. Somewhat unusually, this year I’ve managed to see a few of them. This has proved to be good timing. Movies gunning for golden statuettes can tend to be desperately self indulgent, but I actually enjoyed most of the movies that I watched over the Christmas period.

Below are brief reviews of four of those movies (one of them is not an awards-bait movie, but I did see it over the holidays). I also saw The Irishman, Scorsese’s mob epic, on Netflix, which was probably the best way to watch it, as it’s an interminably long retread of ground that Scorsese has already crossed and re-crossed, mostly in the company of the same actors. I’m not a big Scorsese fan but when all a movie has going for it is familiarity and technical achievement, it’s going to be a lesser work.

For upcoming movies, I still want to catch Greta Gerwig’s Little Women and I’m looking forward to Armando Ianucci’s The Personal History of David Copperfield. However, while I wait for those, on with the reviews, in more or less chronological order:


Knives Out, Rian Johnson

Having become the focus of Internet fan ire a year earlier for his work on Star Wars: The Last Jedi, Rian Johnson’s return with a wonderful modern version of the classic Agatha Christie detective story is a warming success. Garnished with a truly wonderful cast, led by Anna de Armas and Daniel Craig, it does what Johnson likes doing best: takes apart a well-known genre, figures out what makes it tick, then puts it back together in a form just skewed enough to require the audience to pay close attention.

Paying attention pays off in this case, as Knives Out plays fair throughout, providing all the information that the audience needs to figure out what’s going on. Casually mentioned facts reappear later in the story, and no one is entirely to be trusted. Even better, the film lays out early on exactly what happened, turning instead into an exploration of how and why it happened. It’s a subtle distinction, but it brings the characters and their motivations to the fore, much to the evident joy of the cast.

Often when the people involved in a movie have clearly had a good time making it, the movie itself is a bit of a mess. That’s not the case here. Johnson’s script is tight and purposeful, and his cast are clearly having a ball playing a bevy of horrible, entitled people. Chris Evans, Michael Shannon, and Jamie Lee Curtis are all worthy of note, but Craig’s louche detective Benoit Blanc is a constant joy. All the happier news then that Johnson is planning further movies starring him. Bring them on.


Star Wars: Rise of the Skywalker, J.J. Abrams

It’s been a tough few years for Star Wars fans at the movies. For all the money they’ve made, the Star Wars films have stuttered for Disney, with production on movies outside the main story having been halted. Which leaves only the final movie in the trilogy of trilogies for now. Following on from The Force Awakens, which was predictable but buoyed up by its appealing young cast, and The Last Jedi, which did interesting things with the Star Wars universe but clunked in several areas, we have Rise of the Skywalker, which lands with the dullest, heaviest of thuds.

The problem lies mostly with the writer/director. J.J. Abrams has a talent for tapping into fan nostalgia and grabbing audience interest with mysterious stories, but if Rise of the Skywalker proves anything, it’s that he has no idea how to plot a movie. He got away with it in The Force Awakens, which could devote itself to setting up mysteries for later films and which in any case borrowed its plot from earlier films in the franchise, but here he’s required to provide payoff for at least two and as much as eight earlier films, and he really doesn’t.

What he does instead is deliver a film stuffed from one end to the other with incident, action, and brand new and unexplained twists and turns. In this constantly weaving spaghetti junction of plot lines, the appealing traits of the core cast are lost and no time at all is taken to build suspense or allow the impact of seemingly galaxy-shaking events to sink in. Despite watching Star Wars since I was old enough to follow a story, my sense of wonder only twitched once, a positive reaction far outweighed by my eye rolling at overt fan service and sighing at yet another pointless hint that never gets followed up on. This should have been so much more.


JoJo Rabbit, Taika Waititi

Imagine the trickiest assignment you could give a scriptwriter. A comedy set in the waning days of World War II, told from the perspective of a ten-year-old Nazi fanboy, with Hitler as his imaginary friend? Oh, and it has to deal sincerely with anti-semitism, tragedy, and despair, all without being offensive or trite. That’ll probably be close to as tough as it gets. It’s entirely to Taiki Waititi’s credit that he took on the assignment in the first place and a sign of just how good a writer and director he is that the resulting film is something close to a triumph.

I’ve seen and heard a few reviewers complain that as a satire it’s toothless as a result of its silliness, which somewhat misses the fact that JoJo Rabbit isn’t a satire. It’s a coming-of-age story, told amid the most insane of circumstances, as the titular JoJo is required to confront the Nazi “truths” that have been drummed into him from his earliest days, embodied by Waititi’s Hitler, an imaginary friend who is by turns supportive, manic, and hateful.

The complexities of the supporting characters are deliberately hinted at rather than delved into: JoJo simply isn’t equipped to understand their despair, devotion, and rebellion. The exception is Thomasin McKenzie’s Elsa, a jewish girl he finds hiding in his house. Older and more insightful than JoJo, she has a drive for survival that he doesn’t understand, and it’s through her that he finds a path to growing up and developing empathy. By turns hilarious and deeply heartfelt, JoJo Rabbit was my favourite movie of the winter.


1917, Sam Mendes

Most of the attention paid to Sam Mendes’ World War I epic 1917 prior to its release centred around its unusual editing. The entire two hours is presented as taking place in more or less real time, with a single time jump in the middle. Any edits are carefully concealed, with the result that the camera almost never leaves its protagonists as they struggle through no-man’s land and across the western front during a lull in the fighting.

Does this structural flourish actually serve the movie? Arguably, it increases the sense of immersion, as the audience has little opportunity to breathe or look away across the two hours of the film. By the end of the movie, they’re likely to be just as exhausted as the survivors are. However, film editing is an almost universally recognised language, and at times the refusal of the editor to cut away or switch to a closeup can be jarring and remind the audience of the artifice of what they’re watching.

What’s left then is a solid, well-told story of desperation and heroism amid the horrors of the World War I trenches. Mendes doesn’t shy away from showing how awful the experience was, though the film is rarely gratuitous in its use of corpses and death. The cast, while not as impressive as that of Knives Out, does provide some highlights for viewers, but it’s the core duo of Dean-Charles Chapman and George MacKay that impress the most. The weight of having an entire film production focused on you for far longer than normal can’t be underestimated, and succeeding as well as it does marks 1917 as an impressive feat.


Cancer Update: Towards the end of my second week on alectinib/Alcensa, things are settling down a bit. The most notable side effect has been a lowering of my heart rate, which may have knock-on effects in time but otherwise isn’t bothering me too much for now. My weight has also gone up a bit, but the cause of that is harder to identify. Constipation and returning to a sedentary job with ample access to snacks could both be contributing. So it’s probably a good thing that I started running again today.

Well, I say running. It was more of a 5k run/walk/stagger. However, the breathing wasn’t a problem. Instead, the out-of-practice legs were. So, as before, good news worth taking and I’ll run with that. Once I recover, that is.

Doing the HOX/POX—Hickman’s X-Men

With a break from the rugby yesterday, I decided it might be a good idea to pay a bit more attention to the world outside of sport. What, exactly, has been going on in the world of politics and culture?

….

Well, that was a mistake, wasn’t it? Let’s retreat into some make-believe instead and take a look at one of the biggest comics stories of the year, Jonathan Hickman’s reboot of Marvel’s X-Men franchise.

(Spoilers below, if you haven’t read it. And you should—it’s good.)

Continue reading Doing the HOX/POX—Hickman’s X-Men

Heavy Sits the Arse Upon the Throne…

We’re only a few hours away from the finale of Game of Thrones. Having long ago outstripped the A Song of Ice and Fire novels it was based on, the series is now delivering an ending that author George R.R. Martin may not match for years. However, season 8 has already met with a mixed reception, so the odds that the last episode will leave viewers happy, or even satisfied, are not as good as they were. With that in mind, let’s take a look at the runners and riders for the Iron Throne and how they’ve been served by the last few episodes.

(Spoilers, obviously.)

Continue reading Heavy Sits the Arse Upon the Throne…

Game of Thrones—The Long Farewell

Quite a few long-running stories that I’ve been following across different media are coming to an end these days. In the cinemas, there’s Avengers Endgame, the climax of a story that started with Iron Man in 2008 (and which I’ve seen—more on that soon). In comics, there’s Kieron Gillen and Jamie McKelvie’s The Wicked + The Divine, which has been running since 2014 and is on its final story arc. And on TV of course, there’s Game of Thrones, now two episodes into its six-episode final season.

Endings are tricky things, of course, all the more so when stories are as sprawling as these three examples are. But these stories have an advantage: a large cohort of dedicated fans, who have invested in and stuck with the story from the early days. Perhaps the key to getting the ending right lies in making sure that these fans feel a sense of payoff for their dedication. And from the two episodes so far, Game of Thrones‘ creators understand this well.

(Spoilers for Game of Thrones below, but also for sundry other endings.)

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Game of Thrones—In Praise of the Little People

Game of Thrones returned to our screens last weekend, in an opening episode to the final series that harked back to the very first episode. Once again, the major players were manoeuvring around one another, some of them meeting after years apart and others encountering each other for the first time. The Starks and Lannisters, together with Daenerys Targaryen, face the existential threat of the White Walkers and the Night King, while all around them everyone else just tries to survive.

Except that’s not really true, is it? One of the joys of Game of Thrones, both in televisual and novel form, is that its rich cast of minor characters don’t just exist to survive and support the actions of the major players. They have their own lives, their own lusts and drives, and they’re often just as entertaining as, if not more so than, the tragic Starks or the debauched Lannisters.

(There’ll be some spoilers below, but not too many. This is all about celebrating the characters who have enlivened and enriched the tapestry of Westeros for viewers and readers.)

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A Tale of Two Captains

The history of the comics industry, with all its twists and turns, contains fewer stories more convoluted than that of Captain Marvel. A plethora of characters have held that title across multiple publishers, and there’s no way to tell the tale in a straightforward fashion. There’s even an extension to the Captain Marvel story that ropes in a British copy called Marvelman, comics’ greatest writer, and a slew of hard-fought court cases.

Given all of this complication, there must be some cosmic synchronicity at work in two versions of this storied character having their movie debut within a month of each other, in the form of Marvel/Disney’s Captain Marvel and DC/Warner’s Shazam! It might be a little spurious to compare the two movies, but it might also be a little fun and tell us something about the seemingly bloated state of the superhero movie genre right now.

Besides, when has being spurious ever stopped this blog before?

Continue reading A Tale of Two Captains