Sunday, November 29, 2015

Doctor Who: Heaven Sent

When you’ve been plotting and writing Doctor Who for as long as Steven Moffat has, you inevitably must stumble across an idea that’s so mad you have no choice but to see it through to its finish. What will the people who so often chant for Moffat’s dismissal from the series – those who claim he has run out of ideas – make of this intimately epic hour that delves deep into the psyche of the show’s central figure? Perhaps they will say that it is nothing more than a rip-off of Groundhog Day or Edge of Tomorrow or any of the myriad films or TV shows that have exploited the time loop gimmick in this manner. If it were done poorly, we may have cause to tear into it, but when it’s done to such aching perfection as this, we must stand back, catch our breath, and applaud. One of the most experimental episodes of Doctor Who ever, “Heaven Sent” is surely also one of the best, and certainly one of the most revealing.

The Doctor: “As you come into this world, something else is also born. You begin your life, and it begins a journey towards you. It moves slowly, but it never stops. Wherever you go, whatever path you take, it will follow – never faster, never slower, always coming. You will run, it will walk. You will rest, it will not. One day, you will linger in the same place too long - you will sit too still, or sleep too deep. And when, too late, you rise to go, you will notice a second shadow next to yours. Your life will then be over.”

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Artwork courtesy Design by Stuart Manning

Monday, November 23, 2015

Doctor Who: Face the Raven

There’s no need to begin with talk of the first two acts here, when the last 10 minutes of “Face the Raven” are what most folks are currently concerned with, so let’s cut to the chase: Clara’s dead, which, unless you pay very close attention to internet scuttlebutt, no doubt came as a huge surprise. After all, in the modern era, companion exits tend to happen at the end of a season, accompanied by much fanfare (the Ponds were an exception, but even they departed at the close of a half-season). As a means of shocking the audience, what was done here was highly effective, but as a fitting finish to the near three-season run of Jenna Coleman’s Clara Oswald? Not so much. Her passing was little more than a slip-up of an accident, surrounded by strong dialogue and ripe emotion. Given the handling of the scene, the show certainly wants us to believe that this is the end of Clara’s story, but it feels unfinished — as though we’ve come to the end of a long sentence, but there’s no punctuation at the close.

Would Steven Moffat really pass off scripting duties for a companion exit to a freshman Who writer? The episode doesn’t even feature a “and Steven Moffat” writing credit which has become so prevalent over the past two seasons, when major character arcs are addressed within non-Moffat penned episodes. Doctor Who killing off Clara after killing off the love of her life last season is bleak. There must be a happier ending to this story. I’m on record (a few recaps ago) as disbelieving the show would kill her off. Now that I’ve seen it with my own eyes, I have to believe there’s more to the end of her story than this particular note of finality. Is it possible that we could yet see the return of the Nethersphere? Could Clara Oswald and Danny Pink yet have a happy ending in some sort of computer program afterlife? And if you follow behind-the-scenes talk in-between watching episodes, what of the publicity photos that grace the various covers of Doctor Who Magazine #493? This can’t have been “it” for Clara. There has to be more to this. Or am I just in a serious state of denial?

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Sunday, November 15, 2015

Doctor Who: Sleep No More

Gagan Rassmussen: “You must not watch this! I’m warning you. You can never unsee it.”

Rassmussen could easily have been speaking about “Sleep No More” itself with that very first line of the episode. Well, the streak of perfection (or at least near perfection) had to end sooner or later, didn’t it? Season nine had been charging forward like some kind of long form narrative Roadrunner, and with “Sleep No More” it has smashed into one of Wile E. Coyote’s tunnel paintings. Proudly billed as Doctor Who’s first “found footage” episode, it seems as if the footage that would’ve made sense of the whole affair ended up on the cutting room floor (yes, a horribly outdated turn of phrase in the digital age).

To call it a mess, though, surely misses the point. The concept of a found footage anything is messy by design, isn’t it? Admittedly, my experience with such concepts pretty much begins and ends with The Blair Witch Project, a movie so insufferable that it put me off the gimmick ever since. Now I’m in a position where I have to write about it, so forgive me any trespasses.

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Artwork courtesy Design by Stuart Manning

Sunday, November 08, 2015

Doctor Who: The Zygon Inversion

After the thrilling real world cliffhanger of “The Zygon Invasion,” picking up events in Clara’s hazy Zygon dream state was unexpected to say the least. But then this second half is much different in its aims than the far more action-packed first half. Whereas “The Zygon Invasion” was concerned with the outer, “Inversion” is appropriately concerned with the inner, and as such, perhaps there was no better place to begin than inside Clara’s mind. The episode backtracks a few beats, prior to the Zygon Zygella/Bonnie (what is the point of giving this character two names?) firing the rocket launcher, as we get the scenario from Clara’s perspective.

Trapped inside her little ZyPod, those events outside in the real world start creeping in. Her subconscious nags at her, dropping hints that her current perception of reality is bogus. After similar events experienced in “Last Christmas,” she quickly figures out what’s up, after hearing a familiar, gruff Scottish accent coming through the TV. Though the ensuing battle of wills doesn’t fix the outside situation (the bazooka still hits it target), it does show Clara that she’s able to exert some control over her Zygon counterpart, which comes in handy later on.

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Artwork courtesy Design by Stuart Manning.

Monday, November 02, 2015

Doctor Who: The Zygon Invasion

The Doctor: “This is a splinter group. The rest of the Zygons — the vast majority — they want to live in peace. You start bombing them, you’ll radicalize the lot. That’s exactly what the splinter group wants.”

And with that brief, impassioned speech, “The Zygon Invasion” arguably became the most important Doctor Who episode since “Vincent and the Doctor” tackled depression back in 2010. Doctor Who has a history of addressing real-world social and political issues through its fantastical lens, most notably back in the Barry Letts–produced Jon Pertwee era, which was famous for it. Indeed, one of my major gripes with the modern incarnation of the series is that it doesn’t do it often enough. It is the job of science fiction to show us the better part of ourselves, often by showcasing the downright ugly. If it wasn’t previously obvious that this story is a metaphor for the world’s dealings with certain factions operating out of the Middle East, then that speech from the Doctor sealed it.

Last year Peter Harness wrote surely the most divisive episode of the season, “Kill the Moon,” which I raved about, yet others were considerably less enthused by. Many claimed it was an anti-abortion commentary, which admittedly escaped me entirely at the time. (If we’re going to go down that road, I’d argue that it’s more about a woman’s right to choose.) If such an episode pissed off folks last year, what will they make of this story, which gives the bad guys some valid reasons for doing atrocious things? At a Doctor Who function earlier this week, I briefly ended up chatting politics with a fan whose feelings on the Middle East situation were, well, let’s just say much different than my own. He probably won’t much care for “The Zygon Invasion.”

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Artwork courtesy Design by Stuart Manning.

Sunday, October 25, 2015

Doctor Who: The Woman Who Lived

Last week I referred to “The Girl Who Died” as the first half of a two-parter. It was pretty obvious even then that, along with “The Woman Who Lived,” this pair wasn’t a two-parter in the same vein as the previous tales this season. Not only are they entirely different settings, but they’re not even by the same writer. Catherine Tregenna is new to Doctor Who, but not to the Whoniverse. Between 2006 and 2008 she wrote four episodes of Torchwood, the show about the immortal Captain Jack Harkness (who gets a name check here). Was that experience an ideal primer for this series of extended gut wrenching conversations between two immortals, traveling through time on very different paths?

Perhaps, but I’d argue that the best primer was her sex, which brought a refreshing, vital point of view to the ongoing story of Ashilder/Lady Me that surely would have been absent with a man at the keyboard. Mind-bogglingly, Tregenna’s script is the first written by a woman for the series since Helen Raynor’s “Sontaran Stratagem” two-parter back in season four. Season four… when David Tennant was still the Doctor! It is absurd that it’s taken this long to “find” another woman to write for the series, particularly since one can hardly accuse Doctor Who of being a series steeped in machismo. The even better news is we’re getting yet another female perspective later in the season.

Read the rest of this recap by clicking here and visiting Vulture.

Artwork courtesy Design by Stuart Manning.

Sunday, October 18, 2015

Doctor Who: The Girl Who Died

“The Girl Who Died” was possibly the most anticipated episode of season nine, not as much for the material, but rather for a crucial piece of casting: Maisie Williams of Game of Thrones fame. (Typed as though you didn’t know who she was, right?) We’ve had a number of casting crossovers between the two shows already, and yet this is surely the most exciting one yet, because, well, who doesn’t love Maisie Williams? Even when the now multiple-Emmy-winning series occasionally becomes too much for some viewers, Maisie’s Arya Stark remains one of its few go-to comfort characters. So, yeah, let’s put her on Doctor Who and see what happens. Turns out quite a bit, and more, I imagine, than anyone ever expected or saw coming.

Yet for the hardcore fan who pays attention to credits, it wasn’t just Maisie that had us excited. “The Girl Who Died” is written by Jamie Mathieson, who last year gave us the brilliant one-two punch of “Mummy on the Orient Express” and “Flatline,” arguably the highlights of season eight. And from a freshman Who writer, no less. (Also, he’s a hell of a nice guy, as anyone who chatted with him at Gallifrey One earlier this year will attest.) As if those weren’t enough reasons to be stoked about this episode, it is helmed by first time Who director Ed Bazalgette, which may mean nothing to you, but to me that’s huge. Back in the early '80s, Bazalgette played lead guitar in the Brit new wave band The Vapors, best known for their hit “Turning Japanese,” though every single song in their whopping two album catalog is a gem. Yes, I’m a bit of a Vapors freak, and delighted that two of my treasured pop cults have merged.

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Artwork courtesy Design by Stuart Manning.

Sunday, October 11, 2015

Doctor Who: Before the Flood

“Before the Flood” is the fourth episode of season nine. “Listen” was the fourth episode of season eight. Both episodes begin with the Doctor breaking the fourth wall. Coincidence? Such a gimmick shouldn’t work once, let alone twice, and yet here I found myself jumping around in my chair, punching the air with even more enthusiasm than last year. Much of it had to do with the return of the electric guitar and Beethoven’s Fifth. It was the sort of moment that as a fan you swear you’ve dreamed about at some point. Oh yes, can we please keep that version of the opening theme!?

Beyond the obvious flash, the sequence does something even more on-point, which is loosely outline how the episode is about to play out — perhaps an even more inspired flourish than a Ludwig Van–grinding Capaldi. Because going back in time and finding that you’re influencing events you’re already aware of in the future is such a time-travel staple, that by choreographing it ahead of time, instead of moaning about it when it happens (which we all might well have done), we’re braced and expecting it. The episode knows we might balk at the sci-fi trope, so it tells us it’s around the corner, so we can concentrate on all the great character work the episode has to offer. Some might call foul; I call self-aware, and at this point in the show’s history, there’s nothing at all wrong with providing some context well ahead of time. It made me love this episode all the more.

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Monday, October 05, 2015

Doctor Who: Under the Lake

The base-under-siege trope has been a Doctor Who chestnut since the Patrick Troughton years. It got a particularly heavy series of workouts in his second season, where the majority of the stories fit the paradigm. The problem with whipping out base-under-siege at this point — after exploiting it ad nauseam for decades — is that you really do need to find a way to do something a little different with it. That is unfortunately the failure of “Under the Lake,” which feels so rote in its execution, that on my initial viewing, at one point I nodded off. At this stage in its long history, running up and down and back and forth through corridors, to and fro after ghastly villains, does not a satisfying episode of Doctor Who make. And let’s be honest, that’s what the bulk of this episode was. This is the possible ugly side of any two-parter: Sometimes there isn’t enough story to fill 90 minutes; the flipside of cramming too much narrative into 45 minutes.

“Under the Lake” also dips into another familiar Who well, and that’s the ghost story. Of course, the thing with Doctor Who ghost stories is that they never, ever turn out to be actual ghosts; instead, typically aliens of some kind. To be fair to “Under the Lake” and its writer Toby Whithouse, there’s an effort here to make these projections actual ghosts, despite the knowledge early on that they’re products of alien technology. The Doctor in one scene asserts that they’re “unnatural — an aberration; you live and then you die.” Later on he accuses the unknown aliens of “hijacking souls,” which I’m unsure makes much sense (it certainly doesn’t to an atheist like me).

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Sunday, September 27, 2015

Doctor Who: The Witch's Familiar

Given how rooted in the classic series the first half of this two-parter appeared, the second half feels positively grounded in the new. It’s almost as if Steven Moffat constructed an elaborate bait and switch in order to tell a story of pseudo-redemption. Speaking of bait and switch, it was unsurprising that Davros had a scheme all along; yet fascinating were the emotive lengths to which he was willing to go in order to perpetrate the ruse. It would be easy to write off all of the little moments Davros shared in this episode, but one must take into account how rarely, if ever, he has tapped into that side of himself. I choose to believe that by and large they were genuine, even if in the service of an evil plot to drain the Doctor’s regenerative energy and create a race of super Daleks. Certainly, it will be difficult to view Davros exactly the same after this story.

Of course Clara and Missy didn’t bite it. It never mattered whether or not the viewer believed they were dead, it only mattered narratively that the Doctor believed it (though he should have known Missy had it all worked out, given the sheer number of times the Master has cheated death), as it gave him a sense of helplessness that Davros exploited. From those opening moments of Clara hanging upside down, it was shocking how dumbed-down the character became since the first half. Here she seems written entirely to play foil to Missy, which isn’t necessarily a terrible chess move on Moffat’s part, as it provided loads of comedy fodder throughout. Clara ended up the punchline for so many Missy gags, this episode should surely rate high with all the Clara-haters (who appear to be legion).

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Sunday, September 20, 2015

Doctor Who: The Magician's Apprentice

“The Magician’s Apprentice” casts an immediate spell. Anyone versed in the classic Tom Baker serial “Genesis of the Daleks” was surely mesmerized within seconds. The misty battleground/rock quarry; a war fought with a mishmash of weaponry from different eras of time – this was all set up back in 1975 by Terry Nation. But just as quickly, Steven starts Moffating by unveiling the handmines, an eerie, unsettling aspect of this particular warfare (we’ll hopefully learn more about them next week). And then, of course, he wickedly thrusts a child into the middle of it all, followed with an obscured by clouds Doctor (Peter Capaldi), attempting to assist. Then BOOM! Davros. The kid’s name is Davros. You needn’t have seen “Genesis” to appreciate that revelation.

Post credits, the action shifts to the freakishly serpentine alien Colony Sarff, hunting for the missing Doctor in some of his previous haunts - the Maldovarium, then to the Shadow Proclamation, and finally Karn (where a briefly seen Doctor hides from his stalker). Unlike some other season premieres, “Apprentice” has little interest in being accessible to newbies. It assumes viewers now know the show’s minutiae and iconography. Given that this is the ninth season of Who redux, why not? With so many places to easily access the series, what’s the point in constantly trying to find new avenues through which to lure or entice new viewers? If someone wants to start watching Doctor Who, they’ll start with “Rose” or “The Eleventh Hour” or “An Unearthly Child” or wherever their friend or an article on the internet advises them to begin. This storyline is for those of us who’ve lived with the series for years.

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Monday, December 29, 2014

Doctor Who: Last Christmas

“Last Christmas” is the tenth Doctor Who Christmas special in as many Christmases — a decade of Russell T. Davies’s and Steven Moffat’s annual systematic warping of holiday traditions and iconography. The ongoing Simpsons “Treehouse of Horror” aside, holiday TV has surely never seen anything quite like it. A single Who holiday outing might be something for a fan to pull out and view every year, but ten of them!? To the newbie binge-watching the entire run in the middle of the summer, the fixation must seem absurd (for instance, there are only five regular episodes between 2011’s “The Doctor, the Widow and the Wardrobe” and 2012’s “The Snowmen”).

But for the diehards, they’ve become more and more a big part of our yearly celebrations, and under Steven Moffat’s guidance, the Christmas specials are increasingly integral to the continuing story line. This latest outing is a proper dramatic coda to season eight, which back in November left us emotionally hanging (not to mention drained) as to the fate of the intense, complex friendship between the Doctor and Clara — a pairing that seemed in jeopardy of dissolving due to rumors that Jenna Coleman was leaving the show. Well, now we know the score: Not only is Clara sticking around, but she’ll be traveling alongside the Time Lord for the duration of season nine. Anyone who read my recaps for season eight undoubtedly knows that I am giddily delirious at the prospect of another full season of Clara Oswald, which itself is a pretty special Christmas present … but boy, did Moffat make me work for it.

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Sunday, December 28, 2014

Time Bandits: The Criterion Blu-ray review

The movie portion of this review was previously published at Bullz-EyeStills are not screengrabs from the Criterion Blu-ray.

If you were a certain kind of boy or young teenager in the ‘80s, then there’s a good chance Time Bandits was a very important film for you. Sure, you loved Ghostbusters, Raiders of the Lost Ark and The Goonies, but Time Bandits was special in a different way because not everyone else was in on it; it was seemingly dismissed even by most adults (well, the ones I grew up around anyway). For many young people, it was our first introduction to the whacked out joys of Monty Python, even if we didn’t realize it at the time, as Time Bandits is not a proper Python film. But half of the six-man comedy troupe is involved in the picture, and so when we finally got around to discovering Python, we recognized John Cleese and Michael Palin from this film. Little did we know, though, that all of Python’s strange animations were the handiwork of the guy that directed this piece. Wasn’t it refreshing to not have every fact and figure at your immediate disposal way back then? You picked up information over the years while actively seeking it out. Perhaps, as Time Bandits hints, computers really are the playthings of Evil.

David Rappaport and Craig Warnock
However, it’s also possible you were not a certain kind of boy in the ‘80s, or that you’ve never even seen Time Bandits. If so, let’s lay it out there. One night, 11-year old Kevin (Craig Warnock) lies in his bed. Out of his wardrobe tumble six dwarfs on the run from God (who here is referred to as the Supreme Being). He’s their employer and they build trees for him. But they’ve stolen a powerful map from God, and now travel around through history, attempting to loot the past for riches. Kevin follows, and finds himself in all manner of incredulous situations, such as bantering with Robin Hood (John Cleese) or conning Napoleon (Ian Holm) out of his wealth. At the same time, Evil (David Warner, in one of his very best roles) watches over, secretly plotting his takeover of the world via the map, and eventually, an understanding of computers. Exactly what is “The Most Fabulous Object in the World,” and can the inept group of thieves procure it? 

Sean Connery as Agamemnon
As is probably to be expected, Time Bandits works on two different levels. There’s the fantasy/adventure angle for younger viewers, and a sharp, comical script loaded with observations and commentary for the adults. Much of the film’s satire revolves around consumerism and greed, and the lengths to which people will go in order to satiate such desires. Although John Cleese and Sean Connery get top billing (albeit alphabetical), the film’s stars are Warnock and the dwarf actors. David Rappaport plays the leader, Randall, and the emotional backbone of the film is really the relationship between him and Kevin, which is not even remotely a feel-good sort of thing. In fact, the dwarfs aren’t even particularly nice people, and in one segment, when Kevin is separated from them in Ancient Greece, he meets King Agamemnon (Connery), who is more of a father to him than his real father ever was. The dwarfs kidnap Kevin away from his new, perfect life, because they realize he’s actually smarter than they are, and they need him to further their schemes.

David Warner as Evil
Time Bandits didn’t seem a particularly dark movie to me as a kid, but in rewatching it today, I find myself somewhat aghast at how cynical it really is (although even when I was young I realized how fucked up and bleak the final moments of the film are). This really should come as no surprise when you consider that Terry Gilliam unveiled Brazil, the ultimate dark, fantastical social commentary of the 80s, a few years later. (Gilliam was even trying to get Brazil made before Bandits.) While this was Gilliam’s third film (he’d previously co-directed Monty Python and the Holy Grail and helmed Jabberwocky solo), it was the first in which he indulged himself seemingly every whim and idea. Each frame of the movie is crammed with detail, from the important to the trivial, and perhaps what’s most striking about it today is that all the effects are handmade (also the name of the production company – Handmade Films). This is a CGI-free picture, from back when there was no CGI, and it’s all the better for it. It’s a tangible universe; one that you can feel and believe in.

John Cleese as Robin Hood
None of this is to imply it’s a perfect film - just that it’s an ambitious and fun one. While the movie spares little time getting going, it takes forever to end, and much of the big finish, in which Kevin and the dwarfs battle Evil, goes on for far too long, and undercuts some of the intelligence the film is rooted in. When the Supreme Being (Ralph Richardson) shows up, the movie somewhat recovers, but even by then it feels as though the joke has perhaps gone on for a little too long. Yet these are nitpicks from someone who’s seen it countless times, and is possibly taking it all a bit too seriously. Time Bandits remains Fantasy 101, and a must see for people who enjoy this kind of fare. While you’re at it, why not share it with an impressionable 10-year old?

Blu-ray Review & Extras: The previous Image Entertainment Blu-ray release was a visual letdown, and barely deserving of the format, so thankfully Criterion has finally stepped up to the plate and delivered their shining goods via this new 2K digital restoration supervised by Gilliam. Time Bandits soars once again! Ported over from their own previous DVD release is a commentary track featuring contributions from Gilliam, Craig Warnock, Michael Palin, John Cleese, and David Warner (though not all together in one room). A new 23-minute piece traces the design aspects of the film through interviews with costume designer James Acheson and production designer Milly Burns.

Running at a whopping 81 minutes is a revealing conversation between Gilliam and film scholar Peter van Bagh. From the Midnight Sun Film Festival in 1998, the interview was recorded not long after Gilliam finished Fear and Loathing in Las Vegas, though that particular film is only briefly discussed at the close. The rest of the conversation traces his growing up in Minnesota, his joining of Monty Python, and talk of each his classic films made until that point. If it’s not the definitive Gilliam interview, it’s certainly up there, and it is always a delight to listen to Gilliam talk life and shop, and here he’s given plenty of time to pontificate.

A short, vintage 8-minute piece from Tom Snyder’s Tomorrow is an interview with Shelley Duvall tied to the film’s release, which more than anything else is a great reminder of how obnoxious Tom Snyder was. There’s a short gallery of photos from the set, and a very funny three-minute trailer that wreaks havoc with the concept of trailer voiceovers - also ported over from the Criterion DVD. (The “Time Bandits Scrapbook,” which ran for 3:13 is absent.) Instead of a booklet, this disc’s essay, entitled “Guerrilla Fantasy” by critic David Sterritt, is printed on a large fold out piece of paper, which flips over to reveal a recreation of the iconic map. It’s not as large as the one in the film, yet would look very nice framed, though I suspect David Sterritt would rather me not recommend doing that. Finally, the disc features a snazzy lenticular slipcover, which may or may not be available on future pressings of the disc.

Photo of fold-out map included in the Criterion disc

Saturday, December 06, 2014

Happy Birthday, Ben Watt!

There’s always time and space to write a little bit more about Ben Watt and/or Tracey Thorn, but today the focus must be on Ben, for two reasons: It’s his birthday (happiest of birthdays, Ben!), and because after nearly 25 years of being a devotee of all things Everything but the Girl, I finally got to see half of the band perform live on Thursday, the fourth of December, 2014. Ben brought his one-man show to the extremely intimate venue of the Cactus CafĂ© in Austin, Texas, and it was easily one of the most rewarding “concerts” I’ve ever been to. It was a perfect show - certainly as perfect as a solo Ben Watt, touring his solo album Hendra, could possibly have been, anyway. He played the bulk of the new album, three EBTG tunes, and a pair from his first and only other solo record, North Marine Drive, which dates all the way back to 1983.

But the night wasn’t just about music, it was equally about Watt recounting memories and telling the stories of how all these songs came to be. As a musician who’s also written two books, Ben’s storytelling prowess may be on its way to equaling his musicianship, as he took time out between each and every tune to weave tales of days gone by – some happy, some painful, all poignant. The latter assertion should come as no surprise to anyone who’s followed his music over the years. Ben’s music, Tracey’s music, and the music they’ve created together has always been there for me when I needed it, and though it doesn’t have all of life’s answers, it has more often than not seemed to be asking the same questions as I, at whatever point in my life I was listening. It has always felt as though we were on the same page, and there really isn’t any other body of musical work that I can say that about.

Hendra is an insightful and heartfelt work, and one that, while I enjoyed a great deal prior to hearing him play it live, has now moved up to transcendent. There was just something about seeing and hearing Ben play, for instance, the tune “Forget,” mere feet away from me, that made its messages about regret and loss all the more important. Ben, at one point during the show, copped to the fact that the songs that make up Hendra are perhaps not exactly life affirming, happy-go-lucky tunes. But he insisted that what the album was really about is resilience, and how important it was for listeners to feel that within its ten songs. As I get older, and life’s disappointments stack up, I can think of no other message I’d rather hear.

The idea of releasing a solo album 30 years after the previous one must have been a daunting one for Watt, especially with the immense popularity of EBTG in between. Would people show up? Would anybody care? We did and we do. Watt was generous enough to stick around and chat with the diehards after the show, which made me a bit nervous. I’ve lost count of how many times I’ve been disappointed by meeting a hero (there are countless talented assholes out there), and the last thing I wanted was to in any way be let down by a guy who’s been half responsible for some of my favorite music ever recorded. But I wasn’t. Ben was as genuine and warm in person as anyone could possibly hope for. 

One of the lyrics on Hendra, from the tune “Young Man’s Game,” is “I’m not as good as I used to be.” I beg to differ, Mr. Watt. You may, in fact, actually be better. I all but begged you on Thursday night to keep doing this, and I want to reiterate that here: Please continue on with this second (third?) act of your career. We need you to give us comfort in the late night hours when everyone else has gone to sleep, or when we’re in the kitchen doing the dishes and everything seems so very ordinary. We need you to keep telling your melancholy stories and weaving your extraordinary truths. Simply, life is made a little bit easier with Ben Watt music playing over its soundtrack. 

Sunday, November 09, 2014

Doctor Who: Death in Heaven

Picking up from the various precarious cliffhangers we were left with last week, “Death in Heaven” goes pretty silly for the first 10 or 15 minutes. In the peculiar pre-credits sequence, Clara dives into an extended deceptive riff about being the Doctor in disguise so as to avoid deletion by a Cyberman. Even stranger is the decision to put Jenna’s eyes into the credits where the Doctor’s should be, which I guess extends the joke. This goes on for several scenes, and if nothing else, it’s sort of amazing to find out exactly how much she knows about the Doctor – maybe more than any other companion.

Last week I cracked wise about whether or not the Londoners would care that they’re being invaded, and it turns out I wasn’t too far off the mark: Selfies. Oh, if poor Karen Gillan was watching, she must have cringed. Speaking of cringing, how about that Cyberpollen? Doctor Who often does weird stuff to get from Point A to Point Q or whatever, and after last week’s set-up, I was curious as to how Moffat would have Cybermen rising from the grave. Never fear! Magic Cyberrain, made up of exploded Cybermen, pouring down on the cemeteries of the world somehow transforms dead bodies into living Cybermen. Surely it didn’t take long for the show to lose loads of viewers based on this process alone (some of the vitriol going around the net seems to confirm this). Don’t expect me to explain it all; I’m not even sure Moffat could explain this beyond what’s on the screen.

UNIT, in the form of Kate Lethbridge-Stewart (Jemma Redgrave), her asthmatic scientist sidekick Osgood (Ingrid Oliver), and a bunch of soldiers arrive outside of St. Paul’s. They quickly secure Missy and the Doctor, taking the pair to a hangar, wherein resides Earth Force One. By this point in the episode, it’s pretty clear the stakes are high, and that this is big, big, big stuff. But it gets even bigger when it’s revealed that the world powers have named the Doctor the President of Earth, should an alien invasion occur – placing him squarely in charge of everyone, and specifically the military. The Doctor becomes the thing he’s railed so hard against throughout the entire season.

Read the rest of this season finale recap by clicking here and visiting Vulture.

Tuesday, November 04, 2014

Nightbreed: The Blu-ray / DVD Combo Pack review

The director’s cut of Clive Barker’s Nightbreed has been a very, very long time coming, and rare is a film more deserving of a top to bottom reworking than this one. Released theatrically in 1990 in a tragically butchered form by Fox, the film should have been Barker’s leap to the big time. While it didn’t necessarily derail his movie career, it certainly didn’t help it, nor did it likely endear the movie business to Barker himself. With a two-hour running time, including 40 minutes of new footage, this is the version of the movie that should have been released 25 years ago.

Yet this new Nightbreed is such an unusual film that it probably wouldn’t have been any more popular at the box office than the tainted theatrical version. It’s just too strange to ever have appealed to mainstream audiences, regardless of its form. But it surely would have amassed a far greater following over the years, and would now be looked back on as one the great horror fantasy films of its time. Maybe it isn’t too late to attain such a title.

Adapted from Barker’s own novel Cabal, the story tells of disturbed young man Aaron Boone (Craig Sheffer), who sees therapist Dr. Decker (David Cronenberg) for help with the visions he suffers – visions of a place called Midian. Meanwhile, a vicious masked psychopath is serial killing, and Decker convinces Boone he’s committing the crimes by slipping him psychedelics. But all is clearly not as it seems, and Midian is a very real place beckoning to Boone. Midian, located in a remote area beneath a forgotten graveyard, is where the monsters live – the freaks and genetic misfits that society has no room to accommodate. There they live in peace, away from mankind. But a war is coming, and the inhabitants of Midian will find their reclusive existence threatened by man, with Boone and his girlfriend Lori (Anne Bobby) at the center of the conflict.

The whole point of Nightbreed is that the monsters are the good guys, and humanity is morally corrupt, indecent, and without conscience or empathy. This is also very much the point that was gutted from the theatrical version all those years ago, leaving viewers wondering what the object of the exercise was. The Director’s Cut restores the crucial character and story arcs so that the film now feels well-rounded and full-bodied. Most importantly, the inhabitants of Midian have been brought to the forefront, and Nightbreed is populated by dozens and dozens of creatures – I do not exaggerate when I say that 50 feels like it might be low balling it – many onscreen for just seconds at a time.

Lylesburg (Doug Bradley, Pinhead of the Hellraiser films) is the leader of the colony. Aged and wizard-like, the old man has perpetually bleeding slits on his cheeks, which open to reveal eyes. Narcisse (Hugh Ross), the wild man with peeled back skin and an exposed skull, is Boone’s first tangible proof that Midian exists. Peloquin (Oliver Parker) is the red-skinned, tentacle-headed alpha male of Midian. Kinski (Nicholas Vince), whose head is shaped like a crescent moon – looking like Jay Leno via a Mighty Men and Monster Maker - is one of the first to show Boone kindness. Shuna Sassi (Christine McCorkindale) is covered in deadly needles, like some sort of sexy, birdlike porcupine. And the list could go on and on.

Much like its banner mission of flipping the good guys and the bad guys, Nightbreed seems to thrive on turning horror conventions on their ear, always in the service of casting its heroes in a positive light. It’s almost as if while writing it, Barker would come to a spot and say to himself, “Now what would every other horror writer do here? I think I’ll do just the opposite.” Its themes of persecution frequently hit home emotionally, and it’s sort of amazing how easy it is to care and root for these ghastly creatures in this “horror movie.” It’s the sort of the stuff that’s often the domain of science fiction and fantasy, but almost never horror. And the humans really are awful, terrible people, chewing into their roles with great relish. Charles Haid, best known for his work in Hill Street Blues, tears into it as a local cop, and Cronenberg is such an ideal choice for Decker that it is practically impossible to imagine anyone else in the role. Here the infamous visionary behind fare such as Scanners and Videodrome embodies evil incarnate, and a more subversively malevolent movie figure you’ll be hard-pressed to find.

Craig Sheffer has all the makings of a standard, B-movie hero of the time period. There’s little that’s remarkable about his work here, and yet he unquestionably gets the job done. Anne Bobby, however, is a little treasure, and Lori’s story arc is far more the backbone of the picture than Boone’s. Midian calls out to Boone; it’s his destiny. Lori has to work for it, and in many ways she goes on far more of a traditional hero’s journey than the picture’s leading man. One of her great scenes, cut from the theatrical version but restored here, is a musical number early in the film. Set in a raucous dive bar, Lori howls “Johnny Get Angry” to an enthusiastic crowd (all while Boone, in the midst of the worst drug trip ever, looks on). The scene shouldn’t work, and yet it’s now impossible to imagine Nightbreed without it. Perhaps the greatest tragedy to come out of this movie’s mishandling is that Bobby didn’t get a bigger career out of it, which she more than deserved.

Blu-ray/DVD Extras: Shout only provided the Morgue with the standard Blu-ray/DVD combo pack, as opposed to the limited collector’s edition Blu-ray set, which has two extra discs, one of which features the original theatrical cut. While I was initially disappointed that I didn’t get the big set, as I really wanted a copy of the original cut, once I viewed the new version I no longer cared. Frankly, it’s been so long since I last viewed the theatrical cut, I couldn’t line list the differences. I only instinctively know that the new version is clearly and vastly superior, and viewing it makes the old version a relic, probably deserving of being lost to posterity.

Extras include an introduction from Clive Barker and Mark Alan Miller, the gentleman largely responsible for making the Director’s Cut a reality. It plays automatically with the film, but is skippable. The pair also has their own commentary track. Beyond that, there’s a 72-minute making of/remembrance called “Tribes of the Moon,” which includes Craig Sheffer, Anne Bobby, Doug Bradley, Hugh Ross, Simon Bamford, and Christine McCorkidale all waxing light-heartedly nostalgic about their time making the picture. While not definitive (frankly, I’d have killed for some Cronenberg on here), it remains a great deal of fun, and most any fan will be delighted by it. “Making Monsters” is a 42-minute featurette on the makeup and effects, which are stars of the film unto themselves. Here we get thoughts from artists Bob Keen, Martin Mercer, and Paul Jones, who only represent a sliver of Nightbreed’s behind the scenes talent, though they frequently discuss all of the other artists’ contributions. “Fire! Fights! Stunts! 2nd Unit Shooting” is a 20-minute interview with action director Andy Armstrong. Lastly, there’s the film’s original theatrical trailer. All bonus programming is duplicated on both the Blu-ray and the DVD. 

Sunday, November 02, 2014

Doctor Who: Dark Water

Let’s not bury the lede here, and please allow your recapper a bit of gloating. All the way back in my recap for “Deep Breath” I posited that Missy was short for Mistress – the feminine of Master (though to be fair, I was only one of many who did), and of course, it is. Beyond that, I’ve since been in an almost weekly dialogue with numerous fan friends who’ve thrown out a dozen different predictions and possibilities as to who Missy really is, and never did I give up on that initial instinct. It was never going to be anyone else, but to say it’s anticlimactic is to miss the rather innovative point of it all.

For several years there’s been a vocal contingent calling, often rather loudly, for a female Doctor. The only reason people are even able to demand such a development is because it could in theory occur, given how Time Lord physiology appears to operate (really, on no other TV series could one insist that the sex of the lead character needs to change). But just because you can do something, doesn’t mean that you must; there has to be a strong narrative reason behind such a radical shift. Within the series, there’d previously been only one confirmation that a Time Lord could change sex, and that was in “The Doctor’s Wife,” when the Doctor offhandedly referenced a Time Lord named the Corsair, who at some point was a woman. That was a big moment, but this development just dwarfs it.

Read the rest of this recap by clicking here and visiting Vulture.

Thursday, October 30, 2014

WKRP in Cincinnati: The Complete Series DVD review

Cult classic sitcom WKRP in Cincinnati, now making its complete series DVD debut, takes viewers to a much different time – before iPods and Sirius, when AM radio was still a very real thing that people listened to and relied on for news and entertainment. Yes, radio had character, and helped dictate and define our culture, pop and otherwise. Running for four seasons on CBS, from 1978 to ‘82 – a period of major transition in America – WKRP was a wacky workplace comedy that helped pave the way for shows like The Office, 30 Rock and Parks and Recreation today. To discuss what makes the series tick, one must first understand its lunatic cast of characters, who are at the root of every episode, every laugh and every plot development. There are eight principles that can be broken down into three categories.

Management: Arthur Carlson (Gordon Jump) is WKRP’s sometimes bumbling but always good-hearted station manager, also known affectionately as “The Big Guy.” Though from time to time he appears to possess a modicum of business acumen, for the most part, he’d rather not be bothered with the day-to-day operations of the station, instead focusing on his hobbies, which include fishing and model trains. The series kicks off with Carlson’s hiring of Andy Travis (Gary Sandy) as the station’s new program director. The level-headed center of the bunch, Travis has been living town to town, up and down the dial, and doesn’t see WKRP as anything more than another stop in his career of rebranding stations and making them profitable. Soon enough, he’ll discover there’s something special about this station that keeps him from moving on to the next one. Jennifer Marlowe (Loni Anderson), Carlson’s bombshell-with-brains secretary, shouldn’t technically fit under management, and yet as the series progresses, it becomes all too clear that without the glue that is Jennifer, the entire enterprise would fall to pieces.

The Disc Jockeys: Dr. Johnny Fever (Howard Hesseman) is the station’s morning drive man. Like Travis, Johnny’s worked at more stations than he can remember, though that may have more to do with years of drug and alcohol use, which is more hinted at than ever explored. Fever is the show’s wild card, and WKRP never shies away from throwing bizarre, unpredictable plotlines in his path. Venus Flytrap (Tim Reid) is Andy’s first move upon changing the station’s format to rock and roll, hiring the jock “away from a station in New Orleans.” Shrouded in a mysterious past, Venus takes care of the evening shift, playing soothing, laid-back tunes for the greater Cincinnati area. WKRP peels away the Venus onion, giving him a little more backstory every season, and one of the show’s very last episodes (“The Creation of Venus”) brilliantly redefines his introduction way back in the two-part pilot.

Read the rest of the character breakdown, as well as the entire review, by clicking here and visiting Bullz-Eye.

Sunday, October 26, 2014

Doctor Who: In the Forest of the Night

If there’s one thing that continues to amaze me about Doctor Who, or more specifically its fans, it’s all the wildly different reactions — most of them valid — to any given episode. I make no claim to offer up definitive interpretations or reactions in my recaps, and likewise it’s frequently baffling when someone insists that a particular episode is awful or without redeeming qualities. Doctor Who often plays its points of view broadly enough that it inevitably leads to differing readings. Pick the greatest and most hailed episode of the series — "Blink," for instance — and somewhere out there is somebody who’ll explain to you how it’s indulgent, poorly written garbage riddled with conundrums, and they might actually have a point. This is a big reason why Doctor Who is great TV: It means something different to every person who watches it, and no two people see it the same way.

With those qualifiers out of the way, "In the Forest of the Night" is the first episode of the season that, for me, doesn’t work within the thematic framework of the ongoing storyline. Yet looking at it objectively, say as a standalone story not related to the bigger seasonal arc, it feels cruel to pick on it or pull it apart. It’s like tearing into Sendak’s Where the Wild Things Are for not playing to the adults in the house. This season, which has been so fraught with interpersonal conflict, has been a pretty specific thing, and all of a sudden for this one episode it feels like something that it wasn’t before (and judging by the preview for next week, doesn’t look like it will be again). It’s jarring at this particular juncture, coming right before the finale in which all hell (or perhaps heaven) is about to break loose. It’s too cute, too syrupy sweet — like this season’s been a charging locomotive and here it suddenly runs into a wall of Jet-Puffed marshmallow creme.

Read the rest of this recap by clicking here and visiting Vulture.

Sunday, October 19, 2014

Doctor Who: Flatline

Honest to Pete, it’d be nice if this season could deliver just one truly awful installment, so as a recapper I could have a little fun tearing into the show for a week. (Somewhere out there someone’s saying, “Dude, you had your chance with “Robot of Sherwood” and you blew it.”) “Flatline” continues this unexpectedly wonderful season of Doctor Who by delivering an alien threat unlike anything the series has ever showcased. It simultaneously harkens back to Tom Baker’s swan song, “Logopolis,” in which the TARDIS shrank with the Doctor inside.

The episode demands attention from its opening sequence. A man places an emergency call, frantically babbling about “they” being “everywhere” only to disappear mid-sentence and reappear as a smeared painting on the wall behind where he was standing. The way the camera moves and tilts to reveal his face is like one of those street paintings that only comes into focus when you see it from a certain angle. Sure enough, “Flatline” centers on an alien invasion from a two-dimensional universe, and in ours their deadly handiwork ends up looking like street art – a bizarrely weird idea worthy of Moffat himself, but dreamed up by Jamie Mathieson, who also penned last week’s outing.

Read the rest of this recap by clicking here and visiting Vulture.