Still Open All Hours - Series One

It seems like quite an age ago now, but on Boxing Day 2013 Arkwright's reopened with a momentous one off special to celebrate the 40th anniversary of the original sitcom (for my review of this see the BLOG ARCHIVE). This proved so popular that in the early stages of this year a brand new 8-episode long series of Still Open All Hours rolled onto our screens.

Like the original one off, the series proved massively popular in terms of ratings, raking in millions of viewers week on week. By and large I loved the first outing of Still Open All Hours, and such was the case with the series. Still just as funny, still just as well-timed, still just as brilliantly performed and still just as loved.

My one major criticism, or rather my one major worry in 2013 was that they did seem to be recycling the old gags from the old show and I feared that this would not stand the test of time - rendering the show slightly tragic and outdated. To be perfectly honest, that same issue was still detectable dotted about the episodes of the series. There was the odd moment where I found myself cringing ever so slightly; it did seem that they were treading dangerously near to mediocre mundanity in trying too hard to dredge up old gems from the past.

However these old moments, jokes and indeed faces were not there just for the sake of it; far from it. Instead of snatching pieces from Open All Hours just for nostalgia, the tone was set just right; resulting in an incredibly affectionate tribute to the old show, to the late great Ronnie Barker, and also fitting in well with the current scripts. 

What is more, whilst there may have been the odd bit of recycling, the level to which Still Open All Hours has been updated (whilst still staying true to the original) I found staggering. Not only in terms of the simple stuff like the props, the references and the lifestyles of some, but the revamp of old characters as well as new additions makes for an equally entertaining and equally wonderful sitcom.

Take as a prime example, the character of Mrs Featherstone, played by Stephanie Cole. In Open All Hours she was the Black Widow; revered, stern and steely; funny only because of the reactions to her from other characters (mostly Barker's Arkwright). Fast forward a few decades and the character transformation is shockingly amazing. Mrs Featherstone is just as sharp and witty, but is now also full of innuendo, OAP lust and cracking one liners.

It isn't just glaringly comedic character development either. The progression of the Granville/Mavis relationship not only makes for great comedy but also massive plot development (chiefly leading to new characters such as Madge). Again the old elements, i.e. the original characters, are not just there to be there; they are there as they always were - to carry the plot along and to provide the comedy. Add to this promising new characters such as Leroy, Wet Eric and Cyril to name but a few, all led of course by the wonderful Sir David Jason, and you really do get a powerful comedic ensemble that is more than capable of leading this revamped classic to new heights.

I cannot really blame the initial skepticism of people when they heard Open All Hours was coming back, and I cannot rectify the still sorely missed presence of Ronnie Barker. Yet now that Still Open All Hours is back and back with a vengeance, I really do feel that we should continue to give it a chance. I for one really do love the current revival, and long may it continue.

Guardians of the Galaxy

I am and have for a long time been a big fan of Marvel. So it was quite a novelty for me to sit down and watch a Marvel film I knew almost nothing about. The Guardians of the Galaxy comics and mythology are pieces of the massively and wonderfully complex Marvel universe I just had not looked at before, but I am so glad that this film chose to do so.

A massively fresh start of having characters that Marvel had never committed to film before (taking many people I am sure by surprise, including me) gave enough of a springboard into what was in the end a truly brilliant piece of Marvel escapism that just put a smile on your face.

One thing I did know about the Guardians, is that they were reputed to be the zany, wacky, offbeat alternative side to Marvel; showcasing characters and plots that were almost the slightly unbalanced opposite to what we are normally used to (in the form of the X-Men or the Avengers for example). This film did not contradict that, and I feel it struck the right tone to a tee. Almost from the off you did get the sense that this was not just another churned out Marvel movie just for the sake of it. No this was about starting again with a brand new phase of Marvel film; and it was great to watch.

The whole idea of a motley crew of desperate beings in a far off space-age world coming together to save the universe by kicking ass their way just seemed to fit beautifully and uniquely with this new Marvel branch, and more importantly encapsulated beautifully what the Guardians are about.

Normally I make a big deal of the casting and performances in any film and, whilst they are important factors and should be looked at, they almost have to take a step back from the overall feel of the film which was just so glorious that it did swamp individual elements most of the time.

However this is a new Marvel ensemble piece so let us look at the Guardians.

I have never really rated Chris Pratt before but his performance as Peter Quill/Star Lord, whilst not perfect, showed depth and flare and has great potential. Zoe Saldana as Gamora was fluid, feisty and just furious enough to bring a great dynamic to the Guardians, as was Dave Bautista as Drax who most of the time just served as added muscle but did inflect just enough heart to make things interesting. But the two main highlights Guardians wise for me were the brilliant creation of Rocket the Raccoon, voiced superbly by Bradley Cooper, and the sheer genius that was Groot on screen, occasionally voiced by Vin Diesel. Individually they were great to watch, and together they were awesome. What made this "origin story" so markedly different, so to the whole film, was that threaded throughout all of these characters there were massive amounts of humour. Action a plenty yes, but also strung perfectly through were genuine laugh out loud moments that you rarely see from a Marvel movie.

Also among the cast we should mention antagonists Lee Pace who brought the perfect blend of traditional menace and style as Ronan the Accuser and Karen Gillan (AKA Doctor Who's Amy Pond) who sizzled as the sadistic Nebula. Legendary gems that were a surprise but who shone nonetheless also included Glen Close as Nova Prime and John C. Reilly as Rhomann Dey.

As I say, normally these performances would still make for a good film, but the overall powerhouse factor and sheer joyous visual splendor that is Guardians of the Galaxy just about overtakes all other aspects. At times, things do get too drawn out I admit, where the film makers suddenly shift to trying to provide too much hard hitting drama (not that most of the dramatic moments are not appreciated) and very occasionally the humour dies and the film loses its way a tad.

Yet all in all, I find Guardians of the Galaxy to be a very happy surprise. Knowing that Marvel can suddenly turn around from a very good and very successful track record and give us something that is so action-packed, so visually stunning, so detailed, so heartening and so funny is very refreshing and very welcome indeed.

To me Guardians of the Galaxy deserves all the success it can get, and its rightful place in the annals of the Marvel movie universe. Now all we have to do is wait for the Guardians' return... 

The Missing

Thanks to the modern miracle of Catch Up TV, I have finally gotten around to watching the eight part BBC drama that gripped the nation a couple of months ago.

To put it simply, I found The Missing to be the most shockingly powerful piece of television I have seen in a long time; certainly the most powerfully shocking (and possibly the darkest) I have seen from the BBC. Hugely suspenseful, gripping in the extreme, and darkly captivating. This series really brought each and every aspect of what happens when a child is abducted into shockingly clear, detailed and considered light.

Ingeniously written, and wonderfully planned and envisioned from the first second to the last, The Missing never once failed to keep my attention to the extreme (an experience I haven't had with a TV show since the days of LOST). Hugely addictive from each episode to the next; to say I was a captive audience is an understatement. Truly in its own dark, gritty, noir-esque, gut-wrenchingly powerful way The Missing really is a sublime piece of television.

Though the stories of James Nesbitt and wife Frances O'Connor are a main focal point of the twisting and turning plot, at its heart The Missing is an ensemble piece, and each member of the ensemble is effortlessly terrific.

Yet lets start with the main two. James Nesbitt has of course been an acting staple for us here and indeed globally for some years now, and The Missing only goes further in confirming his status as the supremely talented acting treasure he is. He does not put a foot wrong at all in the eight episode long arc of his character Tony Hughes. Perfectly measured, wonderfully detailed and excellently encapsulated - James Nesbitt is wonderful to watch here.

Complementing him is Frances O'Connor whose character Emily goes on her own arc. This journey is just as harrowing and detailed as that of Nesbitt's character, but it is just as well envisioned and just as beautifully captured. What's more the two complement each other so well as these two struggling parents trying to cope in the face of massive tragedy. Together they really do succeed in getting across the realism of what such a case could be like.

Alongside them of course we have a superb smorgasbord of talent at every turn - the performances really are staggering. We have Jason Flemyng, who you may be forgiven for overlooking slightly, but is nevertheless a sage and charismatic character to have. Ken Stott pretty much re-defines the term "complex villain" here with a distinctly disturbing but nevertheless awesome performance as Ian Garrett. Then we have relative newcomers Titus De Voogdt, again with a very chilling but wonderfully layered performance as Vincent Borg, and Anamaria Marinca whose character transformation and transition as Rini Dalca really is mind blowing. 

Finally we have the sage, sublime and superb Tchéky Karyo as wise and experienced detective Julien Baptiste; his was a performance that captured you from day one, and if I had to pick a favourite character his would be it.

There are many dramas that profess to stand out from the crowd, but The Missing truly does. Superbly written, beautifully directed and with characters and performances that truly are breath-taking. The only reason I am not giving it a completely clean bill of health is its slightly ambiguous ending (though I am not giving away any specifics) and its tendency to go a tad too dark. Really though, I implore you to watch this one. The nature of the subject matter and the fact that it is eight episodes long may sound a little daunting, but I promise in terms of sheer quality - The Missing is certainly worth it. 

Eagle Eye

I know, as this film was released in 2008 it might be eligible for one of my "Another Look Back" headlines, but I've run out of the basics for that and Eagle Eye does not really deserve more than basic praise, if that.

I've seen this film a couple of times over the years and, once you get past the initial hype (of which there is very little) you do find yourself struggling to see the point. I certainly did. Yes there are enjoyable qualities but overall it is slightly bewildering. Billed as a "techno-thriller" (if you don't know what that is - watch the film; it all becomes clear) Eagle Eye essentially throws the idea of Big Brother gone wrong into 21st century America. 

One big negative point of criticism for most is the sheer audacity and ludicrous nature of the basic plot (that of a super powerful AI controlling two unlikely strangers and coercing them into a major political assassination). At its heart and at its essential core - this concept is very interesting and enough to perk your interest (not to mention being voiced in this instance by the wonderful Julianne Moore). Yet once you take that initial concept and hurl it into an over-embellished, fast paced yet ultimately unnecessary series of ridiculous action sequences, heightened to the extreme actor-interplay, and an end result that falls distinctly flat; you do not really have a winning formula. Not that I am saying there always has to be a formula with this type of modern thriller (which is supposed to be believable in modern times, but really isn't) though if there is a right way of doing things, Eagle Eye didn't get the memo.

Casting-wise there were ups and downs, but the ups definitely don't cancel out the downs. As I say Julianne Moore was an inspired choice for the voice of the enigmatic yet sinister ARIIA. What's more Billy Bob Thornton's character was a much needed boost of refreshing blunt comedy and gruff yet charming charisma.  After that we had several good talents who were just not used often enough and not in the best way at all; namely Rosario Dawson and Michelle Monaghan. They have a proven track record and did shine slightly in Eagle Eye but not enough to resurrect anything. Finally, I have never liked Shia LeBeouf; I find him overly arrogant, pretentious and obnoxious in every film I have seen him appear in. Eagle Eye did not change that.

Eagle Eye does not deserve a complete and utter slating at all, and I am not attempting to do that. All I will say is that if you want a fast enough, action packed thriller with a decent enough cast list and the bare minimum of intelligence, staying power and believability - then have at it. Eagle Eye just scrapes by; it certainly will not become a classic in anyone's mind, but that does not mean it isn't a good film to waste two hours watching.

Atlantis - A Quick Word on the Second Time Around, Half Way Through

Way back in November 2013, I took a brief look at the first series of Atlantis when it was on its mid-season hiatus (for this see my BLOG ARCHIVE). Broadly speaking, I quite liked it. Now (following the halting of the second series late last year) once again we are in a mid-series break and I thought I would do the same. Most things haven't changed with my view on the show, and in some cases they have improved, but a couple of alterations have not gone a miss.

Firstly, as with any returning series, I think we are now used to the basic formula of Atlantis, thus I can focus on the positive elements that are able to make themselves known above the day-to-day workings of this BBC One show. 

I'm used to the action, the fast pace, the heavily stylized, powerful nature and feel of the show; all of which is left over from the last series and has indeed got better over time. I have even got used to the many mythical mash-ups each episode dollops up and (whilst the classicist in me is still reeling) I do appreciate that it is now a tried and tested method of moving the whole plot along and I do recognize it works for the show. What I was not ready for, was the darker feel to the show. Again quite a few returning TV shows (particularly from the BBC in recent years) claim to have a "new darker feel" to them, and sometimes the expected results fall flat. Here however, Atlantis has not been too subtle in instilling this new element, and it kind of has worked. Complete cutting of the fantastical title sequence, a dialing down of the comedy (though don't worry-bits are still present), a few timely character deaths, and pumped up injections of powerhouse drama. All of which make for a distinct new undercurrent to Atlantis and I do approve. My only worry, is that this "darker side" to the show may just be a quick fix to keep/attract audiences. I may be mistaken, in fact I hope I am but I just get the feeling that this level cannot and will not be kept up, and that Atlantis, far from reverting back to its lighter fantasy of series one, will become a bit of a mish-mash in terms of its overall outlook. 

If you are going to "go darker" with a returning prime time show, I just feel you should follow it through properly and commit completely; and I fear Atlantis may have fallen short.

Aside from the feel of Atlantis, there are resolute positives and a few tweaks in the casting too. Gone are the characters of King Minos and Heptarian (though the latter is replaced by the villainous though slightly more interesting Clive Standen as Telemon) and broadly speaking I do not miss them. New characters are not really filling me with confidence though; Dion was an interesting enough character but he was killed off early on (though this was probably essential for the aforementioned "darker feel") and a major cast addition, Amy Manson as Medea, started promisingly but quickly fell through due to lack of screen time, poor acting and lack of character dimension and consistency. I see what they were doing in bringing in a new young female character (and a starting villain at that) but they had better have something massive planned for Medea to resurrect her character's standing. Happily, one gem of a new addition comes in the form of Ron Pickup as Orpheus; he is a joy to watch and I hope we have not seen the last of him.

One casting cut that I am greatly affronted over is the lack of the beautiful and brilliant Jemima Rooper as Medusa. Hers was a fantastically conceived and executed character arc in series one and whilst I know there are plans to bring her back in the second half of series two, hers is a presence that has been sorely missed.

Now turning to old faces held onto. Main man Jack Donnelly has improved steadily as hero Jason but, like last time I wrote of Atlantis, I still feel he is too one-dimensional. The fact that he is a leading man and that  he is well supported by his fellow cast has probably saved him, yet when watching him you never once feel surprised at anything he does - rendering the main character all too predictable which I feel can be both a potentially boring and dangerous thing. 

Robert Emms is consistently good as Pythagoras and Mark Addy (despite being toned down a few notches) is still a stand out star by miles for me as Hercules. Sarah Parish as Pasiphae, whilst still being the main antagonist, has somehow apparently been dealt a slightly meaner share of action and plot development. Despite the obvious best efforts of the writers to embroil her character in a web of suspense and intrigue, neither her performances nor her involvement in the plot is quite up to scratch yet this series.

Also worth a mention is Aiysha Hart as Ariadne. Last year I found her to be painfully unconvincing, transparent and shallow to watch; both as an actress and a character. This year however, I am happy to report that she seems to be doing her best to turn that around. Whilst you may not like the direction Ariadne's character is heading and the decisions she is making - the important thing is there are decisions made, directions taken and tangible character noticed.

So yes, again one series on and Atlantis is still going strong. Yes I still happily tune in each week and yes I do hope we get more and more, as I do feel there is a lot of potential in the show. However I must inject a note of caution and even doubt. Indeed there are many noticeable and powerful changes, directions and tones to this new series of Atlantis, however I think we must wait to see if these changes are executed well enough, and if they will pay dividends. 

Alan Davies - Life is Pain

If we start to set a precedent of blog posts here about stand up shows I have not seen live but have watched on TV, then we may be going down a densely-populated, slippery (yet also quite hilarious) slope. Yet that is the case here. There is no reason why I have singled out particularly Alan Davies for my first foray into reviewing TV stand up, apart from the fact it was rather great. I could probably go into the ins and outs of why I have suddenly looked at TV stand up, but I shan't as that would be doing you an injustice, this blog an injustice and most importantly said Alan Davies an injustice. So, a few words then on how painfully funny I found Life Is Pain. 

In short, I found the way the regular and well loved QI face dished out comedy to be almost effortless. This was Alan Davies' first round of live comedy for many many years, but you really could not tell.

The seamless and charming fashion in which this charming and humble chap dominated the stage and his audience could do nothing but bring a smile to your face. Before the comedy even came, Alan Davies seemed not only to be wonderfully at home in going back to his comedy roots, but also really and truly likable and approachable. I know a lot of comedians often go to opposite extremes in being different enough (even to the extent of alienating their audiences) in attempts to win them back with their own brand of comedy, but I feel there is an awful lot to be said about a man just standing in front of an audience with no need or want of gimmicks or fads or clever tricks. No - Alan Davies' comic genius lies in his own relaxed, lovable and actually warm-hearted approach, alongside a quiet confidence that exuded out of him so freely, resulting in the audience having confidence in him to make them laugh.

And make them laugh he did. Razor sharp, beautifully played and spectacularly envisioned observational, conversational comedy that rolled off Davies' tongue with ease. Strong from start to finish, he was humble throughout but that did not detract from fantastic interplay between himself, the material and the audience. Comedically, even on TV, it was a joy to watch.

I think thanks to the likes of Johnathan Creek and QI (which he excels in too) Alan Davies' prowess as a comedian has been somewhat overlooked, even forgotten in some ways in the minds of some. Life Is Pain not only reasserted Alan Davies' reputation as a comic maestro, but more than that I would even say it reminded us all that he is probably as close as anyone else to being a modern day stand up comedy legend.

Another look back at a good 'un (Yorkshire style) : Calendar Girls

Yes that's right - my first blog post of 2015 is about a twelve year old film set in Yorkshire about aging ladies deciding to get their kit off for a charity calendar. So what? When the film is this good, this charming, and this heartening; when the film is Calendar Girls...well it speaks for itself but I will say that it is to me a surefire British classic, and deserves any and all praise thrown its way.

This might be billed as a comedy, with a very Yorkshire feel (and trust me there is) but I do think the story and the performances could stand on their own, or just as easily be set in Yeovill or Yarmouth. Having said that, the initial fact that there is a distinct and powerful Yorkshire hit throughout this film (even when the Calendar Girls go to Hollywood!) makes it all the more beautiful, all the more amusing and all the more enchanting.

Calendar Girls (in case you've never heard of it) is a film based on the remarkable true story of a group of Yorkshire women who in 1998, in a bid to help and support one of their number when she loses her beloved husband to leukaemia, decide to raise money for the local hospital by doing a nude calendar (mark you "not naked - nude!"...watch the film and you will get it). What follows is a remarkable tale of larking about and ladies laughing hysterically, rediscovering of sexuality, individual morals vs. national opinion, and a story that goes global and eventually comes good more so than anyone could ever have hoped for.

The bereaved lady in question is played by the supreme wonder and the divine tour de force that is Julie Walters. I like so many have been a firm fan of Julie Walters for donkeys. Whether it is laugh-out-loud comedy or deadly serious drama - she always seems to excel and instantly draw her audiences in with little to no effort. In the role of Annie, she channels both and to marvelous effect. Portraying the fragile and delicate Yorkshire flower, the sheer heartbreak of a widow deeply in love with her lost husband, and the wonderful joy of a girl having a good time with her girls.

Side by side with Walters is the equally accomplished and equally superb Helen Mirren as Chris. Opposite enough from Walters' character as she is more confident, more dynamic and ultimately slightly more gullible to the world of fame, but also greatly similar in terms of sheer heart, sense of right and ultimately love for all those around her; just in a very different way. All the Calendar Girls go on a collective journey, but the character of Chris goes on the most individual up and down journey. What's more, Mirren delivers that to perfection with just the right amount of straight-forwardness, sultry and sexy sass and some great Yorkshire one-liners.

Speaking of the other Calendar Girls...this film really is in pretty much every sense an ensemble piece. And yes within it there are shining jewels like Mirren and Walters, but they are not the only ones by far! Almost every actor within this film has their own individual charm and is greatly placed within the plot. There were a couple of struggles to get going in terms of the believable for me; such as Ciarán Hinds as Chris' husband Rod or sadly the great Penelope Wilton as Ruth. Yet there were quite a few standouts for me, including the warm and wonderful portrayal of Annie's husband John, played by John Alderton, the chirpy and infectious Annette Crosbie as retired teacher Jessie, the superbly envisioned and well-crafted Linda Bassett as Cora, the earthy and humble Philip Glenister as Lawrence ("DON'T TOUCH THE BUNS!") and last but not least the delectable and delightful Celia Imrie as Celia.

The casting cream of the crop and the cracking characters they inhabit really boggles the mind. I know I often like to go on about character and cast performances as being key (well frankly, it is pretty major in films and the like!) but this really is a case of superb, superb superb!

Add to that lovely little touches a plenty like a great soundtrack, stunning scenery and backdrop (again thanks mostly to Yorkshire) and the end result really is a treat. Whilst the comedy value is not in the form of 108 minutes of wet yourself instances, there are plenty of clever and amusing lines and moments that will not fail to cheer you up. Add to that barrels of sincerity and heart and Calendar Girls really is a pretty well balanced British belter of a film that we should be proud of.