A cryptic message from Bond’s past sends him on a trail to uncover a sinister organisation. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE. (official synopsis via Screenrant)
I have an odd relationship with the Bond franchise.
On the one hand I love the more serious Bond films of late, starring the debonair, dashing and impossibly handsome Daniel Craig (a man who wears a suit or tux like he was born into it), for their dark, conspiratorial tones, their skillfully-executed gloriously over the top action sequences and their intimately bleak but poignant moments between Bond and people like M which reveal the tortured soul behind the consummate spy who, as we all know, likes his martinis shaken not stirred.
And yet on another, I am find myself more bemused than anything by the older Bond films, which while fun to watch to a degree, effectively turned Bond into a laughing stock of sorts, a man with quips aplenty and one night stands without number, someone who is more Austin Powers than Bourne, a franchise which by the way came very close to making the Bond franchise an anachronistic irrelevancy.
So when the 50th anniversary entry in the 007 canon, Skyfall, came out in 2012, and it was an oddly disconcerting mix of the new grimmer Bond and the older camper version, I was left nonplussed and a little uncertain about whether I would continue to go and see the films of MI6’s most famous spy.
And then, well then, the teaser trailer for the upcoming Bond movie Spectre was released and any and all doubts about whether I would be fronting up the cinema come 12 November (earlier in UK and USA) to see the film went completely by the wayside.
The one and a half minute trailer is, in short, a magnificently tantalising entree to the world of Spectre, directed like the last few films by Sam Mendes, and featuring the return, notes Screenrant, of “actors Daniel Craig, Ralph Fiennes (as M), Ben Whishaw (as Q), Naomie Harris (as Moneypenny), as well as newcomers Christoph Waltz, Dave Bautista, Léa Seydoux, Andrew Scott, and Monica Bellucci”, which makes you want to see the film very badly but without giving away much of anything.
It is exactly what a teaser trailer should be – all promise and no giving away of the very things you want to surprise and delight you when you finally see the film.
One thing it does reveal, after a fashion, is that Bond has secrets, many deeply-pushed down secrets, and that SPECTRE (Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion), the big baddies behind the events in Thunderball and You Only Live Twice (source: TIME) is still a threat to to Bond, the world and life as we know it.
Beyond that though it is all delicious, martini-quaffing conjecture.
Of course as Britain’s Mirror newspaper reveals, there will still be the Bond girls, the wonderful suits, the exotic locations, the malevolent baddies, the action sequences that leave you gasping and the ubiquitous product placements.
But dominating it all will be the kind of dark existential angst that has typified the Bond films of late, and indeed all spy movies like the Bourne franchise, indicated by Moneypenny saying to Bond early in the trailer, “You’ve got a secret. Something you can’t tell anyone, because you don’t trust anyone.”
What is this secret you ask?
Ah that is something that will have to wait until Bond returns in Spectre on 23 October in UK, 6 November in USA and 12 November in Australia.
And here, courtesy of Gamespot, is a behind-the-scenes video looking at the filming of the movie …
It has managed to do what many shows before it have failed to do, mixing together edge-of-your-seat action, strikingly well-defined characters – largely thanks to the uber-talented Canadian actress Tatiana Maslany who, to date at least, has played almost all the characters in the show – and an intelligent, nuanced exploration of the ethics of genetic experimentation and technological advancement into one unfailingly compelling show.
No dry recitation of academic ideas here.
What we have instead is the helter-skelter evolution of one woman, Sarah Manning’s (Tatiana Maslany) quest to find out who she is, into a global conspiracy seeking to push the boundaries of what it means to be human, and what it takes to make who we are, by using cloned versions of one woman and now one man, spliced and diced a thousand different ways, both physical and cultural, in one grand hidden-from-the-world genetic and social experiment.
It’s breathtaking in its breadth but also quite humanly intimate as we get to know all the various women of what we have come to know as Project Leda, all of whom may look startlingly alike but who, thanks to upbringings both good and bad, have grown into markedly different people, their trajectory to adulthood playing havoc with the nature vs. nurture debate.
But thanks to their grand adventures in season 1 and 2, which have seen them in mortal and emotional peril more than once, they have become a family, each watching the others’ backs as they try to find out who they are, why they exist at all, and who is behind their puppet-strings-pulled-like existence.
It’s the ultimate identity crisis, one which which thanks to the end of season 2 introduction of the male Project Castor clones just got a whole more complicated, and undoubtedly dramatically hair-raising.
So far there’s not a lot we know about the just-revealed in all their glory male clones, played by Ari Millen, beyond the identities of two of them – one time Prolethean cultist Mark, and mad-as-a-cut-snake Rudy who, as Hypable reveals, know a worryingly large amount about Sarah and those closest to her, including flamboyant gay foster brother Felix (Jordan Gavaris) and the daughter who shouldn’t exist Kira (Skyler Wexler), a revelation that doesn’t go down well the most sanely feisty of the Leda clones.
“… it turns out Rudy knows all about Sarah and her life. He knows about Kira, Mrs. S., the other clones and way more. Sarah doesn’t take this information so well and threatens to kill him, which is when Marion decides to remove her from the room.”
For all his cockiness though, one thing we do find out very early in the third season is that the Castor boys are in rather worse genetic shape that their “sisters”, making them a whole more unstable and hence dangerous.
That, of course, opens a whole host of new narrative possibilities, underlining that there is plenty of life left yet in Orphan Black, something that doesn’t surprise me given that the show’s whose creators Graeme Manson and John Fawcett, have shown a real gift for creating storylines that never go where you expect them to while giving the plots and characters plenty of room in which to move.
It’s clever, breathtakingly good writing, acting and directing in one consistently excellent package and it’s going to be exciting to see what happens when Project Leda and Project castor finally meet.
The third season of Orphan Black kicks off on BBC America on April 18.
Now for your clone-loving viewing pleasure, here’s firstly a trailer for season 3, followed by a sneak peek from the first episode (spoilers ahead in the synopsis):
“Sarah pursues the missing Helena who is held in a faraway compound. Sarah must use her wiles – and acting chops – to deter a Topside investigator who threatens the Leda sisters’ lives. Meanwhile, Cosima appears to be rebounding from her illness, while Alison and Donnie face newfound financial woes. But when the menace of Castor rears its head once more, Sarah and her entire family must come together to survive.”
And here’s a panel interview with the cast courtesy of Nerd HQ …
Ah the ’90s and early Noughties … such a simple, uncomplicated time when all any of the Friends had to worry about was whether the couch would be free at Central Perk (it always was, of course), whether Ross was with Rachel or they were on a break (getting technical is not the way to a woman’s heart Ross), and whether Phoebe’s beloved “Smelly Cat” would ever find a food that didn’t make it so whiffy.
It was also a time, you might remember, when people out in public actually talked.
Hard to believe, and for you youngsters out there it may sound like an urban myth writ large, but it’s true – people laughed, talked, interacted, and held eye contact with each other.
And then came the smartphone and the world changed forever.
[Full disclaimer: I am in deep love with my smartphone so this is not so much a criticism of now vs. then as an observation]
Now, if David Crane and Marta Kauffman were to reboot Friends for the modern age, it would have to take into account the fact that poeple spend an inordinate amount of time with eyes glued to their screens and don’t have time for such frivolities as stealing delivered cakes out of hallways and trying to convince people that dinosaurs are really cool.
It’s highly unlikely they will remake it since Friends is doing just nicely in syndication thank you very much, but if they did, then I bet you anything it’d look something like the version cooked up Nerdist, which is quite simply hilarious and insightful all at once.
And which comes complete with a parody version of the sitcom’s theme song “I’ll Be There For You” by The Rembrandts which fully acknowledges the change in social habits.
This is inordinately clever, funny stuff and exactly how I imagine a modern hipster version of Friends would look.
On the one hand, it is everything the Bible says it is – patient, gentle, kind, protective, trusting, hopeful – and yet for all those unarguably positive characteristics, its outworking can also be angry, argumentative, regretful, mournful, frustrating.
You see? Not an easy thing to grapple with at all.
And pretty much every one of those aspects of love, both the deliriously good and the irritatingly bad, are on full, glorious, all too human display in Maya Forbes’ Infinitely Polar Bear, a deeply intimate, richly warm portrayal of a family in 1970s Boston who undeniably care for each other but face a significant number of hurdles in living that out.
The most significant hurdle of all is the manic depression, now known as bipolar disorder, of the father of the family Cam Stuart (Mark Ruffalo in potently affecting form) – the title of the movie is lifted from his youngest daughter Faith’s (Ashley Aufderheide) description of her dad’s illness as something to do with “polar bears” – who veers between uplifting highs and dark lows, all of which naturally have an effect on his family.
So unpredictable are his swings between the two states – the movie starts with him having another of his breakdowns dressed in red Speedos and riding a bike, asserting that to be a man he must be allowed to roam free, regardless of consequences – that his wife Maggie (Zoe Saldana) is finally forced to separate from him, taking the girls to live in a rent-controlled apartment while he works out his issues, first in a mental hospital and then a halfway house.
Deeply in love with Cam, who she describes to her eldest daughter Amelia (Imogene Wolodarsky), her decision is not an easy one nor a cleanly-executed one with Cam remaining very much of the girls’ lives, despite his often over-talkative, eccentric behaviour.
He becomes even more closely re-involved with his tight knit but often exasperated family when Maggie decides she needs to go to business school at Columbia University in New York if she’s to have any chance of creating a viable, meaningful future for her and her daughters, and asks Cam to step in and look after them while she’s away during the week.
Initially fearful of the routine – as he cites an ever-lengthening list of things he will need to attend on his own such as laundry, grocery shopping and getting the girls to and from school he goes from animatedly enthusiastic to distinctly nervous – he largely embraces the chance to remain close to his daughters and keep their family reasonably intact.
Of course there is still a degree of estrangement between he and Maggie but theirs is largely an affectionate relationship, one based on love and respect but which for now at least, doesn’t involve successfully living together.
What it does involve though is being there for their daughters who grow close to their father despite his sometimes erratic behaviour – at one point he goes on an all night alcohol-fuelled bender, leaving them sleeping alone in the family’s apartment – which leaves them alternately giddy with happiness and delight, and furiously helpless.
They are forced to grow up quickly but then so is Cam, who though he never fully recovers from his illness – one of the great strengths of Maya Forbes’ script and her expert direction is that eschews schmaltzy happy endings and neat solutions for gritty, unfinished authentic reality – grows into his role as a father, realising as he quietly tells Maggie one night that he’s a far better dad than he ever was a husband.
Infinitely Polar Bear then is a film about the trials and tribulations, the ups and the downs, the laughing and the crying, the messy, flawed outworking of love (there’s that word again) , everything that happens, good and bad, when you place four disparate human beings together and ask them to be a family.
That they want to be one is beyond dispute; whether they can be though is another thing entirely and Forbes doesn’t flinch from being starkly realistic about the chances of Cam being a good dad or reuniting in the way he wants to with Maggie.
What gives this film extra charm is that for all the dark, scary, unpredictable moments, there are plenty of times when life is just about damn well perfect, where there’s ice cream and laughter and fun, and yes, love.
Grappling with the sort of challenges that don’t confront their friends, Amelia and Faith come to appreciate that they must give as much as they take in this most unusual and yet utterly typical of families, the understanding dawning that in the midst of all the chaos and unpredictability is the certainty their father is a good man and that he loves them.
And that really is what Infinitely Polar Bear boils down to; an exploration of what it means when love isn’t some cheerful, cheesily-rhymed ditty in a greeting card or a throwaway line in a rom-com but real life in all its complexity, simple moments, heartache and happiness.
That Cam’s bipolar disorder complicates things isn’t in dispute but at the end of the day life for Cam, Maggie, Amelia and Faith is no more or less worse or better than what anyone else must contend with every day of their lives.
It’s this universality of experience that imbues Infinitely Polar Bear, which makes beautiful use of home movie footage to reinforce the normalcy of their extraordinary family life, so special and so deeply affecting, reminding you constantly that love is never a straightforward proposition and that once we understood that, we’ll be all the better for it.
Jim Henson is deservedly regarded as one of the towering creative talents of the 20th century, a man who, gifted with a limitless imagination, an almost magical ability for imbuing each and every one of his creations with poignant humanity, and a delightful sense of the whimsical and the absurd, gave us an impressive number of enduringly appealing characters, including Kermit the Frog, Rowlf the Dog, Ernie and Cookie Monster, who are all still standing tall in the pop culture firmament today.
So magically pronounced was his talent and so great his penchant for conjuring up characters that forever captured the public’s love and affection, that the Center for Puppetry Arts in Atlanta rightly titled their now ongoing exhibition – it was originally intended to only run from September 2008 to September 2009 – Jim Henson: Wonders From His Workshop.
It neatly encapsulated the sense of joyous, childlike rapture that universally greeted creations as diverse as the Muppets, who have recently enjoyed a return to the zeitgeist via two very well received movies, the non-human inhabitants of the long-running Sesame Street, which celebrated 45 years on air last year, films like The Labyrinth, and of course, Fraggle Rock (1983-1987), which is about to receive the big screen treatment courtesy of the prodigiously and eclectically talented Joseph Gordon Levitt.
In news sure to gladden the heart of anyone who found themselves instantly and utterly forever drawn into the enchanting cave-dwelling world of the carefree, colourfully-attired Fraggles (principally Gobo, Mokey, Red, Wembley, and Boober), who only work a thirty minute week leaving time free for music , musing and fun, the hardworking diminutive Doozers who’s tasty constructions provide food to the Fraggles, and the intellectually-challenged Gorgs who believed themselves, by sheer dint of their gigantic size, the lords and masters of their universe, and the vortex-inhabiting Silly Creatures of Outer Space, it’s been announced that Levitt will produce and star in a Fraggle Rock movie.
A long time fan of the much-loved show, Levitt’s involvement with the project, which has been kicking around Hollywood for the better part of a decade, according to Variety which broke the news, is sure to give it the boost it needs to become a delightful, much-anticipated reality.
And there’s no doubting Levitt’s love for the Fraggles, Doozers and Gorgs, and indeed all of Henson’s canon of wonder.
“The first screen personas I ever loved were Henson creations, first on Sesame Street, and then on Fraggle Rock. Jim Henson’s characters make you laugh and sing, but they’re also layered, surprising, and wise. From Oscar the Grouch, to Yoda, to the Fraggles. I’ve never stopped loving his work, even as a young frisky man, and on into adulthood. Collaborating with Lisa Henson makes me confident we can do something that Jim would have loved. I’m grateful and excited to be working with New Regency on this project.”
As the LA Times notes though the actor, who is making a name for himself as a serious actor in upcoming films like The Walk and Snowden, will have his work cut out for him.
“For one, Fraggle Rock doesn’t have nearly the name recognition of Henson’s Muppets or Sesame Street characters. All but the most die-hard fans, for example, may need a reminder that the series ran from 1983 to 1987 and told the story of colorful creatures known as Fraggles, Doozers and Gorgs co-existing in and around a series of caves.
“Will moviegoers turn out to catch up with characters they have only a foggy recollection of, or none at all? Perhaps, but if not, it somewhat defeats the purpose of dusting off existing intellectual property rather than starting from scratch.”
While that may well be true, there’s a lot to be said for sheer lifelong enthusiasm and appreciation for a neglected but loved franchise in not only getting films like this made but in getting the word out so that more people will come to better appreciate the appeal of a less well-recognised part of Jim Henson’s everlastingly wonderful world.
No word yet on production dates much less release dates but there is now impetus to finally get the film made, and as Jason Segel, another Muppets devotee of long standing, showed when he revived the Muppets in 2011, the attachment of an enthusiastic major star to a would-be project is a big step forward in actually getting it made in the often fickle world of Hollywood.
The film’s now more than likely creation is proof that, as Gobo’s Uncle Travelling Matt always said, “The magic is always there, as long as we keep looking for it…”
Ella, a beautiful woman tired of unwanted attention from men, strolls through a carnival while reading a book. A barker talks her into trying the bumper cars, but the result is a perilous accident that leaves Ella trapped. A stranger, the handsome and muscular Jake, rescues her, and the two fall in love and are soon married. Various women attempt to seduce Jake, but he remains steadfastly faithful.
Enraged by this slight, one of these women stages a photo of Ella, changing in a room full of male mannequins, and gives it to Jake. Jake, distraught by what he believes to be his wife’s infidelity, contemplates suicide, but soon takes solace in a series of affairs. When Ella discovers this infidelity, she tries to hire a man to kill Jake, before finding a magician who has a machine that will allow her to temporarily transport her consciousness into the bodies of the women Jake is sleeping with. (synopsis via Wikipedia)
There is such a whimsical, dreamlike quality to the trailer for Bill Plympton‘s Cheatin’, which possesses a heart-stoppingly gorgeous visual style so richly beautiful and engaging that you fall in love with movie after about 10 seconds worth of animation, that you wonder how one man could create something quite so delightful.
The one scene alone where Ella unlocks a seemingly neverending series of faults and boxes and fortified containers to give her heart to Jake is beyond wonderful, a fast moving montage that speaks to how great their love is that she would open her deepest inner sanctum’s to this clearly very special man.
Of course, not everything stays impossibly romantic, as is sadly often the way in life but to her credit Ella fights keep this most unexpected on life gifts; the question will what she does be enough?
We can only hope.
In the meantime, we can glory in the beauty of Plympton’s extravagantly poetic artwork which has been featured in everything from The New York Times, Vanity Fair and The Village Voice to Your Face, 1987 Academy Award-nominated animated short and now the 2013-produced, Kickstarter-financedCheatin’, his seventh animated feature overall.
The film includes over 40,000 hand-painted style drawings and speaks to the intense artistry that Plympton brings to all his work, which has found itself once again very well received at a slew of film festivals around the world including Slamdance (USA, January 2014), Cork International (Ireland, November 2014) and Napa Valley (USA, November 2014).
And it’s not surprising that the man who Scott Beggs at Film School Rejects says creates art, animated and still, that is immediately recognisable “with big-toothed, rubbery people who seem vaguely from the wholesome 1950s and foregrounds that often melt into backgrounds” is so much in demand.
His work not only looks beautiful but it says something authentic and real about the human condition too, a perfect combination that can’t help but captivate you whenever you are fortunate enough to see it.
Cheatin’ does not have a general release schedule available at this time.
SNAPSHOT Paper Towns is directed by Jake Schreier (Robot & Frank) with a script by Scott Neustadter & Michael H. Weber (both of (500) Days of Summer and The Fault in Our Stars) When Margo Roth Spiegelman (Cara Delvingne) beckons Quentin Jacobsen (Nat Wolff) in the middle of the night—dressed like a ninja and plotting an ingenious campaign of revenge—he follows her. Margo’s always planned extravagantly, and, until now, she’s always planned solo. After a lifetime of loving Margo from afar, things are finally looking up for Q, until day breaks and she has vanished. Always an enigma, Margo has now become a mystery. But there are clues. And they’re for Q. (synopsis via First Showing)
It’s so very easy to play it safe in life.
We all do it all the time.
Shove that long-nurtured dream to one side because it seems too daunting to even embark on fulfilling it, don’t tell that person how much we love them because what if they don’t love us back (but what, pray tell, if they do?), keep to the same old same old because doing something new involves a whole lot of effort and may not actually pay off and we could be mightily wasting our time and …
Anyway, you get the idea.
One person who doesn’t seem to have problem with living her life large is Margo Roth Spiegelman, described by her long-admiring neighbour across the street, the wholly reticent, stayed within the lines, don’t push the envelope Quentin Jacobsen as “inarguably the most gorgeous creature that God had ever created.”
Even when life hands her a great big bag of unfaithful lemons, she sets about making some of the sweetest revenge lemonade anyone has ever had, dragging an initially uncertain then ridiculously happy and surprised Quentin or Q along with her for what turns out to be a life-changing and exhausting ride.
And then with his life barely out of neutral, he finds himself on the chase of his life, trying to track down Margo, who has disappeared seemingly without a trace the very next morning after the vengeful night before, via a series of elaborate cues she has left him.
Taking along four friends, Quentin goes on a transformative journey through the “paper towns” of the title, a real term for place names put on maps by cartographers as a form of insurance against being copied, which in this case refers to the empty sprawling urban subdivisions which look real enough but have only the pretense of life, the simulation of existence, to their credit.
That’s not enough for Margo and increasingly for Quentin who finds himself coming alive in ways he never thought possible.
Paper Towns opens in Australia on June 4, 2015, and in USA on July 24, 2015.
And what are “paper towns” you might ask? Why John Green has the answer for you in his latest vlog …
When we first meet Chappie, one of a growing number of seemingly indestructible weaponised robots or “scouts” being rolled out to augment the flesh and blood police of crime-ridden Johannesburg, he is not leading what you might call a charmed existence.
So unlucky is the hapless droid, who has endured the indignity of having his head crushed by a car and his battery fused to his metallic body by a squarely-aimed RPG rocket impact, that he has been scheduled for destruction by the man who invented him and his pre-programmed comrades, artificial intelligence wunderkind Deon Wilson (Dev Patel).
This all changes though after an “all-nighter” of Red Bulls and ceaseless coding when Deon, who is frustrated by the limitations of working for weapons manufacturer Tetravaal – the name of the company is a nod to the 2003 short film of the same name by the film’s director Neill Blomkamp (District 9, Elysium) – finally creates true artificial intelligence that can learn and grow like any person.
Enervated by his discovery, he races to work, where his rival Vincent Moore (Hugh Jackman who sports an unfashionable mullet and a possibly even less desirable wardrobe) is constantly plotting to get his ungainly over-sized Pacific Rim type combat robots or Moose into poll position over Deon’s scouts, to seek permission to use Chappie as his test subject.
Thrilled at the limitless possibilities of the artificial intelligence he has created, he is crestfallen when the CEO Michelle Bradley (Sigourney Weaver who is wasted in the role though she acquits herself well) rejects his proposal, largely on the basis that Tetravaal manufactures weapons, not robots capable of painting or writing poetry.
Only temporarily undaunted, he decides to use Chappie or scout number 22, as his guinea pig, and spirits the inactive, and thus far unremarkable droid, out of the company’s premises to work on him at home.
He doesn’t make it that far though, kidnapped along with Chappie by a low level gang of three thugs who, in debt to violent local crime kingpin Hippo (Brandon Auret), are seeking a way to turn of all the police robots so they can embark on a limited but lucrative crime spree.
It’s here that a miraculous journey begins as Deon, forced to insert the self-awareness program into Chappie by his kidnappers, two of whom are played by Ninja and Yolandi Visser of South African rap/rave group Die Antwoord, watches in astonishment as Chappie comes alive, initially with only the self-awareness and skills of a toddler, gleefully eager for knowledge which he acquires and acts on with astonishing speed.
If this was all that Chappie was, an exploration of what it means to be human, loved and valued for who you are, a black sheep though you may be, then the film would be more Wall-E/Short Circuit/Batteries Not Included than the violent Robocop-like mess it eventually becomes.
As a study in the very essence of humanity, and the intricate web of learned experiences and intensely-personal relationships, it spawns, Chappie is a triumph.
It is genuinely touching to watch the young droid grow and see him form a close nurturing relationship with “Mummy”, Yolandi Visser, who reads him bedtime stories and intercedes against the more violent and utilitarian demands of her easily-inflamed partner Ninja and his partner in crime Amerika (Jose Pablo Cantillo).
Ninja, especially, sees Chappie purely as a means to a debt-reducing end, and you can can’t help but feel deeply for the newly self-aware robot when he is attacked and set on fire by a vicious band of hoodlums, reacting with fear and panic as any child in that situation would.
Even when he is styled as a bling-wearing thug by Ninja and Amerika, coached to be a one-robot crimewave – a role he is distinctly uncomfortable with after Deon, aghast at what is happening to his precious creation, makes him promise not to hurt anyone or break any laws – he is endearing in every way, so eager is his desire to please the parental figures in his life.
And the great affection that Deon holds for him, his delight at watching his “child” grow and develop in ways that surprise him, and the bond he subsequently forms with Chappie despite Ninja’s intimidating attempts to keep them apart, are a pleasure to watch.
That Chappie is such an appealing figure has everything to do with Blomkamp’s longtime collaborator Sharlto Copley who imbues Chappie, who he brings to life with pitch-perfect voice and motion capture, with childlike wonderment, whimsical joy and a smile-inducing curiosity for the world around him.
In fact, you can safely say that, Deon and Yolandi Visser apart, Chappie is the most human part of the movie, enraptured by being alive, and determined to remain that way, whatever the cost and effort, when he discovers that his fused battery cannot be replaced, meaning that at some point in the not too distant future this appealing fellow will, like all life before him, die.
Unfortunately where Chappie falls down, and falls down substantially, is in its inability to decide if it is a deeply-affecting excursion into the heart of true humanity, or a blow-’em-up, bust-’em-up bloodbath, crammed to the max with explosions, death, destruction and general city-leveling mayhem.
The positives of Chappie the character, of which there are many, aren’t enough to save Chappie the film from becoming a confused mess of petty, poorly-executed rivalries – the titanic struggle between Jackman’s cartoon-ish villain and Deon’s eager innocent-abroad optimist is half-baked and oddly handled – and almost pointless blockbuster violence.
It does somewhat save itself in the dying minutes of the film when something utterly moving and unprecedented happens to Chappie, Deon and Yolandi, and the intensely-intimate emotions which power much of the first half of the film briefly come back into play to emotionally-evocative effect.
But it’s not enough to grant the movie the sort of rapturous approval that Chappie himself merits and which it comes close to achieving in the scenes devoted to the fully-conscious droid’s quest to become enduringly, delightfully human.
Though Chappie boasts some impressive world-building with Johannesburg realised in all its gritty wild west glory, a stunning score by Hans Zimmer and memorable, scene-enhancing songs by Die Antwoord, and gripping cinematography by Trent Opaloch, it ultimately suffers from not knowing where its creative heart lies and hence where its narrative energy should be ultimately, and fruitfully, directed.
* SPOILERS AHEAD … AS WELL AS MUCH GRIEVING, MANY PORKY PIES AND A SUBSTANTIAL LOSS OF SELF-CONTROL*
“The wheels on the bus go round and round, round and round, round and …”
Such a simple child’s ditty, one that celebrates the happy joys of heading somewhere special on a magical wonderful bus as a child where babies cry, horns toot and mum and dad tell you they love you.
All together now – “Awwwww”.
But in the endlessly dark world of The Walking Dead, where there is no such thing as an idyllically innocent anything anymore – Carl’s (Chandler Riggs) eventual heart-to-heart of sorts with Enid (Katelyn Nacon), snugly trapped in a hollow tree trunk, is loaded with reminders that even the possibility of first teenage love is coloured by harsh new adrenaline-pounding realities – buses aren’t so much for the riding in as the being thrown under.
Repeatedly, either by others, or if you’re Rick (Andrew Lincoln) or Sasha (Sonequa Martin-Green), by your own greatly-unhinged hands (this conjures up all manner of ghastly visual images, any and all of which would fit this dark episode).
The Alexandria Safe Zone (ASZ) may be many things but free from the body and soul-imperiling Machiavellian machinations of the flawed human soul? Not so much.
The main offender, bus-throwing-under-wise, was as you might expect, was spineless, simpering Nicholas (Michael Traynor), the man who you might recall from last week’s episode “Spend”, took each and every opportunity to demonstrate a thousand different, all unattractive, variations on rampant cowardice.
In quick order, he abandoned his best friend Aiden (Daniel Bonjour) to die after some ill-advised grenade-throwing left him pinned to a forklift, Tara (Alanna Masterson) out for the count from massive head injuries, and a herd of zombies closing in for some late afternoon chowing down on human flesh; scrambled out of a revolving door exposing Noah (Tyler James Williams) to a gruesome, bloody ripped limb-from-limb death; and tried to steal the van, sans Glenn (Steven Yeun), Eugene (Josh McDermitt) and Tara.
It was a yellow stripe so big it could be seen from space, and underscored that while the ASZ may be a post-apocalyptic Shangri-La, a nirvana of high walls and endless boxes of pasta, its residents are woefully unprepared for facing, and dealing with as it needs to be dealt with, the cold, cruel new undead world that lies just outside their towering shopping mall cast off ramparts.
Shaken by the realisation that he doesn’t have what it takes to survive on the outside (not that he will admit that, of course) – Glenn makes it abundantly clear to Nicolas in “Try” that people like him are all dead by now; in other words the cowardly inept all became walkers or their meals long ago – Nicholas spun a web of lies to protect himself that would have left even grasping schemer Frank Underwood from House of Cards gasping at the audacity of it all.
Nicholas’s recounting of events to Aiden’s grieving mother Deanna (Tovah Feldshuh) was all lies, damn lies and quite possibility even a few statistics, the manufactured self-serving fairytale nature of his untruths contrasted brilliantly with the truth by writer Angela Kang and director Michael Satrazemis thanks to a clever interspersing with Glenn’s barely-audible, emotionally-shaken accurate retelling of what went down in the warehouse to a naturally sympathetic Rick.
In pre-Father Gabriel ratting out the people who saved him, “Satan dressed as an angel of light”, Deanne loving her new community member days, it’s likely that Nicholas would have been exposed for the craven, cowardly liar he is.
But now? Well now, with Deanna suspicious and her previously sound judgement addled by grief, it’s an even way bet how this will all play out.
One thing you can be guaranteed is that it won’t be pretty or particularly edifying to what is left of the overall human spirit.
Of course Rick didn’t exactly help his group’s fragile cause by going all bats**t crazy at the end of the episode.
With a gun no less, which he waved about like it was a stick in search of a missing piñata (or his sanity, you know, whatevs).
Increasingly angry that Pete the drunken surgeon (Corey Brill) was beating up on the object of his would be adulterous passion Jessie (Alexandra Breckenridge) – his ardour for prosecuting the case, which had been fanned by Woman Most Likely to Kill For the Heck of It AGAIN and Scare More Small Children, Carol (Melissa McBride), was driven less by a hatred of domestic violence and more by runaway lust – Rick went all Rambo on Pete’s arse.
In Pete and Jessie’s house … and then not in Pete and Jessie’s house, an innocent window – good luck getting a repair callout on that one guys – bearing the brunt of their misplaced manly fury.
It was not either man’s finest moment, and while it, by many accounts, hewed close to the storyline of the comic books , it underlined a worrying trend in the ongoing narrative of The Walking Dead, which is a tendency to repeat the whole us vs. them dynamic to its repetitively bloody end.
Yes, guys, we get that it’s a zombie-eat-dog world, and things are GRIM, and humanity is not exactly displaying its finest moral wares right now but the obsession with hammering this home is resulting in storylines that look suspiciously like one another.
That’s because it is the same storyline.
Rick and the group come into contact with new people … new people do not have the virtue, godliness and cookie-making skills of Rick’s group … new people do BAD things while Rick and the gang simply do what they must to survive.
Granted, Rick has instilled a moral code of sorts in his “family”, one that has seen them take the high road more often than not (it’s just as infested with walkers through so that’s kind of useless) but their hands aren’t bloodless and yet they are increasingly banging on about their survivalist credentials in the same insufferably irritating way that vegans preach the virtue of eating very little of anything.
Yeah, yeah we get it guys – you’re badasses who have managed to stay alive on the outside when so many have become Buttons-like monster chow.
Would you like a gold star, a medal and a parade in your honour?
That aside though, the great failing here is that The Walking Dead is eschewing far more complex dramatic possibilities.
“Try” for instance could have played out with Rick staying perfectly sane – and for that matter Sasha who’s “I’M GRIEVING DAMMIT!” routine has been well and truly over-played; although trailing around behind her while she offed walkers in great numbers did give Michonne (Danai Gurira) and Rosita (Christian Serratos) something to do I guess – while he and Deanna went through a battle of wills of some kind.
Plenty of tension in that, and it would have made for some gripping viewing as Deanna tried to sort of fact from fiction, Father Gabriel’s fevered ramblings and Nicholas self-serving bleatings from the actual truth with Rick circling around her as she did so.
It would have been the sort of opposing viewpoints at twenty intellectual paces that so many other shows thrive on; but once again it looks like we’re heading down the everything-will-be-laid-to-waste so Rick and the gang can say “I f**king told you so! We’re always right” once again.
There’s nothing wrong with that as far as it goes but we’ve been there already with the Governor and Terminus, and I honestly thought the storytelling gods had decided to throw a different kind of narrative pixie dust on the blighted proceedings.
The signs were promising that the good burghers of the ASZ would be decent if flawed folks – sure they were needed some educating on the harsh realities of life in the new undead world, but that’s where Rick and the gang could have so easily simply gone ahead and, um , taught them – with some like Aaron (Ross Marquand), who spent some quality with Daryl this episode getting to the bottom of the sickos who are scrawling the letter “W” on peoples’ heads before executing them by walker, more than willing to learn.
But all the promise of clever, sophisticated storytelling arising from good if naive people meeting Rick’s hardened veterans seems to be have been cast aside willy-nilly by Scott Gimple and creator Scott Kirkman, who seem to be going down a road filled with walkers that we have already been down before.
Perhaps, next week’s unprecedented 90 minute finale, “Conquer” will surprise and delight and have me eating my words but the signs aren’t good at this point to be honest, what with Rick talking about killing “them” in next week’s trailer, and Deanna and Carol going full tilt on their own driven agendas in the two sneak peeks …
Spend some time with it yes, sup some tea, eat a biscuit, remember the good old days but never, ever be lured into the false sense of security that things were better way back when.
Different certainly, special undoubtedly, but not necessarily better. Just drop those rose-tinted glasses now will ya?
My commitment to this ethos of living in the here and now, and not playing pointless comparisons between what is and what was is tested on occasion though such as when Hanna-Barbera decided that Scooby Doo would be infinitely better off with Scrappy Doo in it.
And it got momentarily tested when first I viewed the new trailer for the revival version of Gerry and Sylvia Anderson’s Thunderbirds Are Go from ITV Studios and Pakeko Pictures which looked a little too, well CGI-ish for my tastes.
And by CGI-ish I mean the sort of cheap, too much Botox and plastic surgery look common to many of the characters in mass-produced children’s cartoon programs these days.
But then I looked a little more closely – I said put down those rose-tinted glasses buster! – and realised that what Blastr had to say about the look of the new show was right back on the money:
“ITV Studios and Pakeko Pictures have preserved the colorful, retro vibe of the original series with enough rocketships, holograms, crawling submarines, supervillains, space stations and cool secret lairs to blast audiences into nostalgic oblivion.”
But things can’t stay exactly the same forever or all you are doing is re-creating museum pieces of dubious value – you could well argue too that replicating the genius of Gerry and Sylvia Anderson is well near impossible too – so upon reflection, and a good hearty shoving of nostalgia to one side, I have to admit it’s exciting to see the gang I grew up watching at 6am each morning in my grandparents’ lounge room back on the screen with, as SuperHeroHype points out, some new characters, all played by some notable names:
“… the iconic series is coming back and features a cast led by Rosamund Pike (Gone Girl) as Lady Penelope and David Graham (Thunderbirds 1965) reprising his role as chauffeur and International Rescue agent Parker.
Unstoppable inventor Brains will be voiced by Kayvan Novak, while Tracy brothers Gordon and John are both played by Thomas Brodie-Sangster (Love Actually, Game of Thrones). Rasmus Hardiker voices both the youngest and oldest Tracy brothers, Alan and Scott. The fifth Tracy brother, Virgil, will be played by David Menkin. Tracy Island matriarch Grandma Tracy is voiced by Sandra Dickinson and master villain The Hood is played by Andres Williams.
“Thunderbirds Are Go!” will feature new characters including Kayo, the Tracy brothers’ friend and fellow island resident, who will be played by Angel Coulby, and Colonel Casey voiced by Adjoa Andoh (Doctor Who).”
So everything old is both new again and exactly as I remember it, which if you’re reviving something is exactly as it should be (The Muppets too benefited from venerating the old while throwing in some new elements).
I’m looking forward to once again engaging the afterburners, battling the mysterious Hood, watching the Tracys’ save people near and far and uttering those iconic words “Thunderbirds are go!”
Thunderbirds Are Go! returns to our screens on April 15, 2015 on British childrens’ TV network CITV.