Archive

Posts Tagged ‘benedict cumberbatch’

SDCC 2015 – The Good, The Bad and The Doctor

July 13, 2015 Leave a comment
Just stick this on your laptop and have a convention in the privacy of your own room.

The sceptical eye is probably a decent icon for this event.

One day I will go to the San Diego ComicCon (SDCC). This year, though, is not that year. Instead, while Northern Ireland prepares for its annual renewal of sectarian grudges, my brother provides me with my second niece, and my sister’s kids do their best to physically and mentally exhaust both my parents and myself, I’ve been keeping up with ComicCon online.

Over the past few years, as SDCC has risen to become the flagship event of the geek-driven media industry, the stars have been the movies of Marvel Studios’ superhero super-franchise. This year though, Marvel Studios is absent, presumably to await a dedicated event of its own later in the year. So the field was open to new challengers, with another Disney super-franchise foremost among them.

With the weekend mostly over, then, it’s time to take a completely subjective look at some of the standout offerings.

Doctor Who

SDCC is well-timed for Doctor Who, which is returning to screens this autumn. So at the panel this year, in addition to the cast and crew, audiences got their first peek at the new season. And it all looks…very Hollywood and action packed. Which isn’t a bad thing in a trailer, but part of the appeal of Doctor Who is a protagonist who eschews violence in favour of intelligence. Nu-Who (the series since its relaunch) has had some great moments but the last few series in particular varied wildly in quality. So a polished trailer raises hopes that those variables might come into alignment this season, but it doesn’t do much to convince.

Sherlock

Speaking of variable quality, when Sherlock is good, it’s very, very good, but when it’s bad it’s…still watchable, due mainly to the two leads. Instead of a new season, there’s only a special episode on the way (Martin Freeman and Benedict Cumberbatch both being in heavy demand these days), and accordingly we got somewhat less than Who provided: a snippet of a scene instead of a trailer. Given the success of retelling the Victorian-era stories in the modern day, it’s odd that the special takes the characters from the revamp and puts them back into the Victorian era. It’s all a little odd, if not counterproductive, and the scene released online does suggest that it’s all going to lean on humour rather than drama. Which, given the indication that the eventual return of the show proper will see some very dark and dramatic turns, is probably a good thing.

Marvel Comics

With movies absent, Marvel’s comics presentations had a prominence that they haven’t had in years. Which is well-timed, as the company’s current Secret Wars crossover is probably its most critically acclaimed in years and looks set to lead into something of a soft reboot, with the best parts of its Classic and Ultimate lines mashed together and cleaned up by its stable of writers in order to welcome in a bevy of new readers. (Multi-media marketing being what it is, there’s some alignment with upcoming movies as well.) There were plenty of new titles to announce and discuss, but my detachment from the majority of superhero comics these days can be measured by the fact that one of the characters depicted in the fourth blurry image on this page was by far the most exciting thing in their entire presentation for me. (If you can guess which one, you get a cookie.)

Marvel TV

Marvel’s TV output stands as the poor relation of the movies, which is a shame, as the quality is quite high. But they were definitely lost amid the rest of SDCC. Not much was to be heard of the new season of Agents of SHIELD, though the midseason miniseries Agent Carter got a welcome push, with its period glamour and post-war pulp stylings boosted by a move from New York to Los Angeles. I’ll be tuning in for that, as well as Marvel’s Netflix series: the return of the excellent Daredevil and the upcoming Jessica Jones. Neither of those were brought to SDCC, but we got images and casting information to keep the hype bubbling away and keep existing fans paying attention.

Pseudo-Marvel Movies

Sort of an unfair description, but then Marvel sold off the rights to its key properties years ago, back when it was in bankruptcy and long before Iron Man paved the way to cinematic dominance. Sony has since moved its Spider-Man into the orbit of Marvel’s franchise, but 20th Century Fox’s X-Men and Fantastic Four properties are still out on their own, and they have a fair amount to recommend them. Their presentation was a mishmash of everything they have planned, from the upcoming Fantastic Four to the further-out X-Men Apocalypse and the R-Rated Deadpool. There’s a lot of talent involved, but not much in the way of coherence, and in the age of colour-coordinated mega-franchises, that’s actually a little refreshing.

Star Wars

What is this strange feeling? Could it be the human emotion called…hope? In my head, JJ Abrams has a lot to make up after the twin travesties that were the two nu-Trek movies (wherein the corpses of the classic movies and TV shows were savaged and the result ground up with an excess of lens flare and quality actors, then slung in the oven until undercooked and served to the rabid masses), but I can’t really complain about anything that’s been done with Star Wars so far. True, we still don’t know a lot about the upcoming The Force Awakens, but I like that. Keep the trailers few and far between, and maintain a bit of secrecy in this era of instant gratification. What we’ve seen so far looks to be in the spirit of the original trilogy, with a dusty, lived-in universe inhabited by dashing scoundrels, noble heroes, imposing villains and the scum of the galaxy. In short, it looks like Star Wars, on the kind of epic scale that modern CGI allows. If Jurassic World showed just how bad the overuse of CGI could get, The Force Awakens might—just might—show how good it can be when it’s done right. (The free concert for convention attendees may have been a stunt, but it was an impressive one.)

And now I’m doomed to be disappointed, aren’t I?

DC Movies

Though I’m a Marvel fan, not a DC reader, I’ve seen most of the movies that DC have put out though (even if Green Lantern was only because it was free and on a trans-oceanic flight). Given how little I thought of Zack Snyder’s Man of Steel and how my opinions of Frank Miller’s The Dark Knight Returns have trended downwards over the years, I really wasn’t expecting much from a movie that looks to be the product of an orgy between those two and every other major DC comic hero, all desperate to generate a franchise to match’s Marvel’s billion-dollar success. So, perhaps it’s my low expectations talking but…that’s one hell of a trailer. The grimdark tendencies of the Nolan Batman movies are balanced, if not exactly tempered, by Snyder’s operatic excesses, and enough of the story is hinted at in order to suggest that Ben Affleck’s Batman might actually be justified in kicking the crap out of Henry Cavill’s Superman. Plus, Jesse Eisenberg as a Mark Zuckerberg-esque Lex Luthor remains an inspired piece of casting. It could still all collapse into a complete mess, but there’s a spark of excitement that wasn’t there before, and DC might just have lit a fire under Marvel’s ass that could benefit everyone further down the line.

Random Other Stuff:

The new season of The Walking Dead and its spin-off Fear the Walking Dead both received new trailers and heavy promotion. And I…don’t really care. I’ve stuck with The Walking Dead way longer than its entertainment value warranted, and I couldn’t even be bothered to fire up the new trailer. I’m sure it’ll be a huge hit.

I’d put Quentin Tarantino in the same category—his movies can be fun, but have always seemed more flash than substance to me. Still, the news that the western he’s working on will be scored by Ennio Morricone? Worthy of your attention at least.

One of my favourite ever comics series was Vertigo’s Lucifer, which used Milton’s rebel angel (as first shown in Neil Gaiman’s Sandman) to examine obsession and self-determination. It’s now being brought to TV as a…police procedural? Where the devil helps cops fight crime while running a piano lounge in Los Angeles? It sounds utterly terrible, but early reviews suggest it could be fun. I’ll be tuning in out of morbid curiosity if nothing else.

The Man From UNCLE is one of those old TV shows that was regularly repeated when I was a kid. I even had a Man From UNCLE annual once upon a time. So this hits my nostalgia button squarely on, and I don’t mind admitting that I love the look of it. Suave secret agents butting heads, feisty women, 1960s glamour, and action aplenty. Again, there’s only a couple of trailers to go on, but Henry Cavill could be getting some more of my cinema money in the year to come.

Joss Whedon has earned a deserved break after the madness of Avengers: Age of Ultron, and his next project is…a Victorian female Batman. Which from anyone else might seem odd but seems right in Whedon’s wheelhouse. Sadly, it sounds like we’re going to be waiting a long time for Doctor Horrible 2, but such are the vagaries of life.

My experience of Warcraft the game was limited but fun, much like the information released to the public on the upcoming movie. Duncan Jones is a director to trust, and the cast and early imagery are very promising, but even though the built-in fanbase is sizeable, it’ll have to work to reach beyond it. Taking the Star Wars path of teasing rather than showing could be a wise move.

DC’s other movie properties (unlike Marvel, their movie and TV properties operate in unconnected universes) operated in the shadow of Batman V Superman, and they’re too far out to judge as yet. A lot’s going to depend on whether BvS is a success, but they seem to have learned from the mistakes of the past at least. As for the TV properties, Arrow and Flash have a lot of fans, and while I’m not among them, I may just tune in to Legends of Tomorrow to catch Doctor Who alumnus Arthur Darvill in a new role.

HBO makes good TV. Jonathan Nolan (Christopher’s brother) is responsible for one of my favourite series in Person of Interest. So bring the two of them together for a relaunch of Michael Crichton’s Westworld and you have my interest. Sadly, Vladivostok’s favourite son Yul Brynner is no longer available to reprise his role as the deadly android gunman, but this could be something special.

Speaking of good TV, Bruce Campbell is always worth watching. Bruce Campbell revisiting his Evil Dead glory days in a TV series? Practically required viewing. Do yourself a favour and watch the only trailer that rivals Deadpool in the humour stakes.

Also in the quality TV arena is Amazon’s The Man in the High Castle. It’s an impressively faithful adaptation of one of Philip K. Dick’s best books, and the pilot episode showed massive promise. The fact that it’s going to be made into a full series makes me very happy.

Pride and Prejudice and Zombies kicked off an entire subgenre of rewriting classical literature to include fantastic elements. Diminishing returns kicked in long before publishers lost interest in the idea, and the movie version of the original of the species languished in development hell for ages. It’s here now though, and it looks to be adopting a straight-faced approach to the silliness of its concept. That may help it to avoid being a complete mess, but the amount of trouble it had getting to the screen does not bode well.

One Last Thing

The sheer quality and amount of cosplay on offer at SDCC never ceases to amaze. I’m genuinely impressed by all of it and not a little jealous. If I ever do get to attend SDCC, a decent costume will definitely be part of the agenda, no matter how overheated San Diego in July is likely to be.

Start Wreckin’: Searching for the Shallow Under the Shiny

May 14, 2013 Leave a comment

It’s my hope that the below won’t read like a rant, but it probably will. So, spoilers ahoy!

Read more…

The Case of the Problematic Woman

January 9, 2012 Leave a comment
Irene Adler as seen in the BBC's "Sherlock"

Lara Pulver proves the more dangerous of the two recent Irene Adlers.

It’s Sherlock Season at the moment. The second installment in Guy Ritchie’s Downey Jr-&-Law driven comeback arrived on cinema screens over the Christmas period, and on New Year’s Day, the BBC debuted the second series of its modern-day updating of the Arthur Conan Doyle tales, starring Benedict Cumberbatch and Martin Freeman. As a long-time Sherlock fan (when it comes to the classic interpretations, I’m a Jeremy Brett man), this double header definitely added to my festive cheer. However, there was one feature of both offerings that raised a doubtful eyebrow.

Spoilers below for those of you who haven’t watched either slice of Holmes (and they’re both worth taking your time to see).

Irene Adler, like Professor Moriarty (with whom she’s associated in both the cinematic and televisual Holmes offerings), looms a lot larger in the Holmes mythos than her brief appearance in Conan Doyle’s tales would suggest. She appears in a single story, “A Scandal in Bohemia,” and is referred to in just four others. Nonetheless, the idea of the woman who matched wits with Holmes and won has fascinated fans and writers of derivative works ever since.

Which makes it just a little odd that both the most recent Holmes offerings veer away from the idea of her being Holmes’ equal. The first Ritchie movie had her as Moriarty’s catspaw, and the second reduced her to a damsel in distress before swiftly killing her off for little reason other than to provide Holmes with an axe to grind against Moriarty himself. In the BBC version, she matches wits well with Holmes before being undone and reduced again to a damsel in distress, whom Holmes this time saves.

A feature of both the recent versions of Adler is that she is undone by her own affection for Holmes. This is a long way from the Conan Doyle story, where all the affection and admiration is on Holmes’ part, with Adler in love with and set to marry another man. The transition towards something closer to a genuine romance between the characters seems to do Adler a disservice, as Holmes ends up the dominant partner both times out.

This may be inevitable – Holmes is the central figure, after all – but there could be something else at work here. Both Ritchie and Steven Moffatt, the co-creator of the BBC series with Mark Gatiss, have made the relationship between Holmes and John Watson the central point of their versions. No mere foils for the mercurial and manic Holmes, the Watsons of Jude Law and Martin Freeman are close to equal partners, emotionally if not intellectually, avoiding the bumbling caricature that Watson often became in other adaptations. In both cases, the depiction of the relationship between Holmes and Watson is a major part of why these versions work so well.

What that seems to mean, though, is that there’s no room for a romance with Adler. To have her become a victim in both cases seems a shame to me, given that she’s a character with a lot of potential (and the only strong female in the Holmes canon). Ritchie’s casual disposal of her seems much more of a waste, and in somewhat poor taste, whereas Moffat’s decision to have her thoroughly defeated and then rescued seems more a result of confusion as to what to do with her.

Perhaps Conan Doyle had it right: Adler was notable because she won and because she entranced Holmes with her intelligence and honour. To try to bring her closer into the orbit of Holmes-Watson is to ruin her.