If you are a regular reader or frequenter of this blog, you have my sincere and humble thanks firstly, but you may have noticed, under the PREVIOUS BLOG APPEARANCES section, a few reviews and features that were very kindly published on the blog of Big Lens, a film society connected to the university I used to attend. However more recently I noticed that these links, and indeed the whole Big Lens blog/site which housed these pieces are now unrecognized. At first I feared the whole operation had been disbanded (it sadly does happen occasionally). Happily however, after a bit of digging I found the newly revamped Big Lens website (looking very swanky too - see here if you fancy a look: http://biglensfilm.com/) and happily I am very pleased and thankful to say that my old pieces are still there. I shall reinstate the new links where the old ones once resided on this blog, but I thought it best to present and preserve the actual original pieces here too. Because, despite them being quite archaic and brittle early efforts I am still quite proud of them, and I am very proud and very grateful to Big Lens for originally publishing them. So, there you are; feel free to have a look at Big Lens (not just my stuff but the whole thing looks great) but also here are my contributions from circa 2013 published during my short tenure writing for them:
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Merlin: Five Years of Magic
“In a land
of myth, and a time of magic, the destiny of a great kingdom rests on the
shoulders of a young boy. His name...Merlin”
For five seasons, sixty-five episodes, John Hurt’s enigmatic
voice, in the character of Killgarrah the Great Dragon, has introduced each
episode with those words. On the 24th of December 2012, BBC One’s Merlin spun its magic for the last time.
Fans will certainly miss this as they shall undoubtedly miss the series as a
whole. Sixty-five episodes is a great feat indeed, though it may seem
relatively tame in comparison to other series. It is often the case that a TV
show is not deemed to have “made it” until it reaches at least 100 episodes.
However Merlin at its end certainly
seems to have had a long and epic adventure. This is a series that certainly
feels like it has evolved. From its conception in 2008, being thought of as
little more than a light-hearted children’s interpretation of the Arthurian
legend, the stories have become more intertwined, darker at times, and by their
end much more grown up.
It is easy to forget some of the tales Merlin fans have seen over the years, yet there have been many,
some with their faults, and others wonderful to behold, and this is naturally
due in no small part to the magnificent Merlin
cast. Colin Morgan leads the “youth” portion of the team, who have all
started as relative new-comers, and have grown into wonderfully established
actors, their characters well ingrained into the hearts and minds of the audience,
and I for one would not have it any other way. That is not to mention the
plethora of guest stars the show has seen over the years, and throughout the
series has been tempered with more mature, established and perhaps slightly
more legendary faces such as Anthony Head and, despite speculation as to when
and if Gaius would be killed off, Richard Wilson from start to finish.
And testament to Merlin
as a widespread appreciated TV phenomenon is its popularity – which has
steadily grown from day one. In the UK alone series one, often showing Merlin
having to put up with the arrogant Prince Arthur whilst concealing and evolving
his magic, averaged 6.3 million viewers. Fast-forward to series five, where
Merlin the sorcerer and King Arthur lead a united front against the sinister
Morgana and her dark magic minions, and UK viewing figures were approaching 8
million. Not to mention massive international support from the likes of the
USA, Canada and most of Europe. This has been noted and greatly appreciated by
all involved in Merlin, and one can see that, as time went on they have strived
to outdo themselves with every episode of Merlin,
often giving audiences titanic battle scenes, beguiling drama, bewitching
special effects and climactic cliff-hangers.
Though I admittedly did not obsessively follow Merlin from day one, I became quickly
aware of it as it grew and was hooked, and fated to see it through to the end.
Its ending was bittersweet for me, as I was sad to say goodbye to the
characters which, though the roster having slightly changed and evolved
greatly, had stuck with me and many millions more for five years. I would have
happily had five more, yet I was glad to see that Merlin did not fail to end with wonderful, and tragic, resolution
and sheer oodles of epic glory.
So, it is just left for me to say thank you Merlin, for
delighting me and your many other legions of fans with your adventures. And I
for one shall now journey on...to buy the series on DVD...to relive the magic.
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HOUSE
After 8 Seasons and 177 Episodes
the doctor is out
I know – this is again another case of me lamenting over a
past TV series that ended last year. Yet given the impact this one made, I feel
I at least have to say a few words. House
has been epic in its impact. Not just in the UK or the USA but globally. From
day one there has been drama, comedy, mystery, tragedy, love, hate and oodles
of character. All centred around and encompassing an American medical drama. In
2004 House’s formula was created and
soon stuck in the minds and on the TVs of millions, garnering massive praise
and acclaim.
Of course, perhaps predictably but deservedly, a great degree
of the credit for this success must go to the show’s star Hugh Laurie. Here in
Britain especially he had already been engrained into the canon of television
history by mostly appearing and flowering in comedic roles, starring in Blackadder and A Bit of Fry and Laurie with his colleague and long-time friend
Stephen Fry.
Whilst his career was ever on the up, what originally seemed
to be Laurie’s relatively inauspicious attempt to take America proved to be a
great opportunity to show the world his incredible power and range as an actor
– playing the title role that would eventually lead to him becoming the highest
paid dramatic television actor and the most watched leading man in the world.
Yes, Hugh Laurie is a force to be reckoned with throughout
all the episodes of House. His
“modern-day medical Sherlock Holmes” character (a concept embraced by all
involved during the conception of House)
has held audience attention for eight years. Hugh Laurie is House – it is as
simple as that. He is a bright shiny jewel in a well-garnered crown. Joined by
a remarkable regular cast, including Robert Sean-Leonard’s Wilson, Lisa
Edelstein’s Cuddy and rising star Olivia Wilde’s Thirteen, and glittering guest
stars throughout, it would be difficult for anyone to say that the House acting entourage does not deserve due recognition also.
Add to this remarkable plots that, despite some critics
claiming they were a tad predictable as time went on, have provided enough
stylish dialogue, gritty medical drama, and enough twists and turns and ups and
downs worthy of a true television classic. Again I admit that I did not follow House from its conception, although
right from the start it was already gaining massive momentum. Yet the opening
episodes of Season 4 were enough to send me right back to the beginning of the
medical maverick’s adventures, and I remained hooked until the final
heart-wrenching moment of the eighth and final season.
Like all shows that one follows for a long time, the ending
of House was bittersweet for me. Yet
perhaps unusually, although a small part of me still wished for more, I was
quite at ease with the resolutions provided, and the journey that the team
behind the show took the audience on. With minimal hiccups along the way, one
can see that House’s story had a beginning, middle and end, albeit an often
unusual and intrinsically individual one. Indeed – this 8 year story was not
only massively popular and gained its stars international fame, but cemented
its place in entertainment history. I think I can safely say that there will
never truly be another like House.
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FILM
REVIEW: IRON MAN 3
You’d be forgiven for thinking that with the seemingly
never-ending tirade of Marvel blockbuster action films released in recent
years, that yet another Iron Man title might not hit the mark. I admit, massive
self-confessed Marvelite though I am, even I had my doubts. Don’t get me wrong
I desperately wanted this film to happen, and having seen it I want several
more sequels too, but I was concerned about the ability of Robert Downey Jr’s
Tony Stark to generally wow audiences yet again. Yet wowed it certainly has.
After two films of his own and a rip-roaring turn in The
Avengers, Iron Man is back with a vengeance. The action, the explosions, the
technology, the stunts and the power is all bigger and better than ever,
progressing almost effortlessly every time we see Tony Stark don the infamous
armour. Yet here Robert Downey Jr. shows off his pure brilliance again as he
gives us even more depths to the impeccably individual Tony Stark. I don’t wish
to spoil anything for anyone, but believe me when I say that there are yet more
sides to Tony Stark we haven’t yet seen, and developments that allow us to love
him all the more. For we see Iron Man take on an adventure that challenges his
own physical and mental ability, the relationships of those he loves, as well
as delving into his own past, present and future.
But what else do we see in Iron Man 3? As well as Stark we
see the development of other characters we have come to know and love. The ever
reliable Don Cheadle is back, this time wielding the Iron Patriot armour, and
of course we see a lot more of Stark’s love interest Pepper Potts, brought to
life by Gwyneth Paltrow. Like her hero, this heroine develops also, even
getting to grips with her own Iron Man armour at one point. We have another
villain in the form of the sublimely sinister Guy Pearce, the ever-present
Jarvis voiced by Paul Bettany, and the loveable right hand man in the form of
actor (and Iron Man and Iron Man 2 director) Jon Favreau as
Happy Hogan. Yet if there was one man who could possibly steal the show from
Downey Jnr. then it would be Ben Kingsley, the face behind antagonist The
Mandarin. Again it is a massive spoiler to go into the details of why
Kingsley’s performance is utterly captivating, but let me simply say that he
rounds the cast of Iron Man 3 off
perfectly, by giving a villain that presents moment of chilling drama and
sinister threat, as well as moments of sheer comedy.
So the cast and characters of the third film in the Iron Man franchise are second to none.
What’s more the core story of the film, as well as providing wonderful comic
book action, romance and comedy, also seems to centre on bringing Tony Stark’s
story full circle. Indeed, as the film goes on, I could not escape the feeling
that the powers that be at Marvel could potentially be wrapping up Iron Man’s
adventures, at least for a while? Of course I believe and I hope this will not
happen. Not least because it is almost a given that Iron Man will at least
feature in the Avenger’s sequel which is already in the works, and I feel it
would be sheer travesty to entrust the role to anyone but Robert Downey Jnr. Yet
it is inferred by the end of this film, that at least this chapter of the Iron
Man saga, after three films and an Avengers adventure, has been brought to a
close. Yet as the man says himself in the last line of the film, for better or
worse, actually let’s face it – definitely for the better, the truth
is...Robert Downey Jnr. is Iron Man.
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FILM
REVIEW: OLYMPUS HAS FALLEN
A disgraced secret service agent. A U.S. President who is
both a widower and single father. Strained relations with North Korea. The
White House invaded. The President kidnapped. One lone hero survives. Welcome
everyone, to Olympus has fallen.
If you want a no-holds barred, explosive action thriller (the
first of many for this coming summer) then look no further. Beginning with the
unusual but functional premise of the White House being utterly gutted and
almost destroyed by a hostile force, Antoine Fuqua’s film offers audiences 120
minutes of a rollercoaster ride that will keep you on the edge of your seat
from start to finish. It sounds like I’m using too many clichés, but in some
ways Olympus Has Fallen is quite a clichéd film.
Almost like Die Hard set in the White House, this film does
not really make any excuses about what it is. A lot of the time it is action,
action, action! Yet mixed in and surrounding this, we see the elements of quite
a human story too. From the journey of Gerard Butler’s central character Mike
Banning, one-time premier President’s guard, likeable and successful guy who
falls (following the tragic loss of the First Lady, played by Ashley Judd) to
low-serving desk jockey who finds himself in the wrong, or the right place at
the right time. His relationship with Aaron Eckhart’s President Benjamin Asher
is deeply rooted in friendship, and thus heartbreak, and thus eventual
redemption and reconciliation.
Eckhart should I feel, have a lot more recognition as an
actor and bankable movie star than he apparently has. Ever the one to seemingly
step out of the shadows, he is very much capable of mixing action and adventure
with raw human emotion with often great effect.
Add to this the ever-wonderful Morgan Freeman (who has also
played a U.S President in his day in the film Deep Impact) as Speaker Allan Trumbull and this great cast is
complete. What’s more it is figures like Aaron Eckhart and Morgan Freeman who
give an inescapable feel of quality and pedigree I feel, to a film that without
them would be fighting and killing most of the time.
So yes, this probably won’t be winning that many Oscars, or may not be a future classic, or even in the
grand scheme of things, that memorable after a year or so. Yet for sheer,
unashamed, unabashed viewing pleasure, Olympus
Has Fallen is certainly a wild ride indeed!
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From The
Vault: Watership Down (Martin Rosen, 1978)
Today, when one thinks of an animated film, multitudes of
names and ideas spring to mind. Pixar, Disney, Motion-capture, CGI, 3D – things
which in today’s modern age are fairly common-place as technology and
multi-million dollar budgets allow film makers to push boundaries and concepts
in all directions, including the animated family film. In a sense, Watership Down is not completely
forgotten. Mention the name to someone and you may get such replies as “that
old cartoon about rabbits” or “the one with Bright Eyes in it” or even perhaps
mention of the classic novel by Richard Adams.
My worry is that with this ever-growing tired of new
family/children’s films being churned out on a massive scale by Hollywood and
the like, be they good pictures or not, wonderful tales such as Watership Down will be completely
buried. This will perhaps inevitably result in future generations never knowing
the wonder of seeing it. I realise at this point that I am sounding like an old
fart, harking back to the glory days, but I truly believe Watership Down is an utter classic that should not be forgotten.
The animated tale following the adventures of Hazel, Fiver,
Bigwig and their fellow rabbits may look slightly dated by today’s standards,
yet to anyone’s eye it looks wonderful surely. The detail, the flare, the
colour – it is all beguiling to behold. Add to this the fantastic music. Yes
Art Garfunkel’s Bright Eyes features
crucially in a sequence that is certainly one of the reasons for this film
being voted 15th in “the 100 Greatest Tearjerkers” by Total Film. Angela Morley’s wonderful
score is often overlooked, but in my opinion is one of the greatest collections
of music of all time, presenting moments of serenity, joy, suspense, thrills,
and sorrow. An element that should
certainly not be overlooked is the magnificent cast. This film shows early
example of the vocal talents of John Hurt and Richard Briers, playing Hazel and
Fiver respectively, who have become two of Britain’s greatest acting national
treasures. They are two jewels in a crown of wonderful talent, including Harry
Andrews’ evilly twisted General Woundwort, and Zero Mostel’s hilariously
endearing Keehar.
Crucially, this film openly acknowledges throughout that it
is certainly not solely aimed at children.
Yes there are moments that are
joyous and charming that children would enjoy, but Watership Down is certainly not Postman Pat: The Movie. Within this
film also lie scenes, sequences and ideas that are dark, and potentially more
adult. Though this is a coming-of-age film, generations seeing it before me as
a child, I maintain it can be watched by anyone at any time. It is perhaps one
of the original emotional roller-coasters, made before the term was adopted to
sell every film in the trailers. Full of drama, laughter and adventure, Watership Down may be an “old” film that
has delighted generations of the past, yet I know it can do so much more again
for those of the future, if it is only remembered, and continually enjoyed.
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