The Past Month on TV #58

The flipside of watching a tonne of films during lockdown is that I haven’t watched much TV — I’ve still not even finished Picard, ffs. But I did make time for Quiz (which, as a three-parter, was basically just a movie anyway), another animated Doctor Who, a season of Archer (“a season” sounds like a lot, but it’s only 13 easily-digestible 20-minute chunks), more of the worst of the original Twilight Zone, and a few other bits and bobs — including Benedict Cumberbatch and Jonny Lee Miller in Danny Boyle’s stage production of Frankenstein, which the National Theatre made available on YouTube last week (sorry if you didn’t know; it’s gone now).

Quiz
QuizAdapted by James Graham from his own West End play and directed by Stephen Frears almost as if it were a movie (note how only the first episode has a proper title sequence), Quiz is the story of Major Charles Ingram, who in 2001 went on Who Wants to Be a Millionaire? and — allegedly — cheated his way to winning the million-pound jackpot with the help of his wife and someone in the audience coughing to indicate correct answers. But Quiz takes its remit wider than this, showing how Millionaire was born and spawned a nationwide community of quiz enthusiasts determined to game the system and make it onto the programme — and once on there, cheat in their own ways.

Obviously I knew the basic story of ‘the coughing major’ from all the news coverage, but I had no idea about all the stuff with the networks of dedicated fans. Quiz only touches on it as a side element in the Ingrams’ story, but it’s a fascinating aspect. The Ingrams were only passingly involved with it, but it makes you wonder: did that organisation cheat more successfully? Were the Ingrams caught and prosecuted because the programme had been driven to be hyper-vigilant but, in fact, were not cheating? They protest their innocence to this day. And while Quiz doesn’t come down on one side or the other, it throws enough doubt on the accepted narrative that you wonder how they were ever convicted.

The enthusiasts’ network; the lengths people went to get on the show; the media storm around the Ingrams… it’s all a reminder of what a phenomenon Millionaire was at the time (at its height, it was watched by a third of the UK population). The best thing about the first episode is how it digs into that, with the backstory of the show itself, the pitches and its early success. This stuff could be seen as an aside to the main story — as padding to make Quiz a three-parter — but it really isn’t: it was that very uniqueness, the specialness of the programme, that led to the ‘cheating’. It also makes for a fun drama, pillorying the behind-the-scenes world of television. Respect to ITV for commissioning a programme that takes so many potshots at ITV itself.

Chris Sheen played by Michael Tarrant… wait…Indeed, even as there are serious events (watch out for the undeserved fate of the Ingrams’ pet dog), Quiz is consistently very funny. There’s a gag in the closing seconds of episode two (punctuated by a smash cut to black) that is golden. Michael Sheen’s uncannily spot-on impersonation of Chris Tarrant will also tickle anyone familiar with the man — i.e. UK viewers, but I guess it won’t translate internationally. Matthew Macfadyen is more understated but also excellent as Charles Ingram, while Helen McCrory burns up the screen as their barrister later on. Those are the obvious standout performances, but the whole cast are on form, in particular Mark Bonnar as one of Millionaire’s exec producers. He’s consistently superb in everything I’ve seen him in (if you haven’t, you should definitely watch Unforgotten series 2), and here adds a lot of nuance to what could’ve been an inessential bit part.

Ultimately, this is a pretty excoriating examination of what went on. Very few people come out if it well — certainly not ITV, the show’s producers, the media, the police, the general public, the jury, the British legal system… Maybe only the Ingrams. Did they do it? Possibly. But the evidence of their guilt is rather thin and, in some cases, ludicrously biased. Quiz itself doesn’t come down firmly on one side or the other, but it certainly seems to have convinced a lot of viewers of their innocence.

In the UK, Quiz is available on ITV Hub for another few days. In the US, it airs on AMC from Sunday May 31st.

Frankenstein
National Theatre Live: FrankensteinAs theatre goes, this is a blockbuster: directed by Danny Boyle and starring Benedict Cumberbatch and Jonny Lee Miller, with the actors alternating who played Victor Frankenstein and his Creature for each performance. One of each was filmed for the National Theatre Live cinema screenings, and for the lockdown National Theatre at Home release they also made both available.
Cumberbatch-as-the-Creature came out first and consequently attracted the most YouTube views, but the consensus seems to be that Miller-as-the-Creature is the better version, so that was the one I watched (I’m curious to see both, but watching it twice in a week isn’t really my way).

Now, frankly, I’m not the biggest fan of Frankenstein. I like the concept a lot — it endures for a reason — but I found the novel an interminable slog, and faithful adaptations fare similarly. Fortunately, this one jumps right to the birth of the creature, thereby improving things considerably by getting to the meat of the issue. It also serves to almost completely refocus the narrative away from Frankenstein and onto his creation. After a brief appearance at the start, it’s another 45 minutes before Frankenstein enters the story properly. This feels like a very modern choice — siding with the downtrodden and oppressed, making him the protagonist rather than the genius inventor. Of course, the Creature is not without his crimes, and the production plays up the mirroring of creator and creation — as if the fact they’re played by the same actors alternating roles didn’t clue you in to that theme.

It’s an impressively theatrical production (a reason why, like One Man, Two Guvnors last week, I’m not counting it as a film), with some clever and effective staging, in particular a rotating multi-level centrepiece. That said, being able to view it from different angles via camerawork does add to the production at times, in particular with one or two moments that seem to have been staged for a bird’s eye view; but then, at others we’re clearly missing something of the atmosphere created in the physical space (for example, sometimes we get to see the massive lighting rig made of hundreds of individual bulbs, but some of its uses and effect is lost by not being in the room). Also, this YouTube release has been censored at one particular moment for the sake of a wider audience, which is a shame. It’s clear enough what’s happened, and some will be pleased not to see that depicted, but unfortunately the edit is wholly unsubtle and therefore completely jarring.

Whatever its other qualities, this production will remain best known for its role-switching gimmick. Some people do think it was just a gimmick — a way to show off and stand out, but not worth much else. I’m not sure that’s fair. If you only watch it once then obviously you’ll only see the actors one way round, even the mere existence of the alternative is somewhere in your mind, informing how you view the play, the notion that these two characters can be played by the same actor in the same production. It’s a neat way to underscore the connection between the two character, which, as much as they would both like to sever it, is seemingly unbreakable.

Doctor Who  The Faceless Ones
The Faceless OnesThe most recent missing story to be animated (see last month for the history of all that) has the Second Doctor, Ben, Polly, and Jamie arrive at Gatwick airport in 1967, where there are mysterious things going on around the offices of airline Chameleon Tours, including young people flying off on holiday but never coming back…

The Faceless Ones gets off to a strong start, with suspicious alien-connected murders, disbelieving authority figures, Polly seemingly mind-wiped, and the Doctor and Jamie playing at Sherlock Holmes and Dr Watson — a bit of mystery, companions in peril, the TARDIS team on the back foot as they have to investigate while dodging the authorities. Unfortunately, this is a six-parter. There are many great Doctor Who six-parters, but there are at least as many (especially in the early days) where they seem to have commissioned six episodes by default and the writers didn’t really have enough story to fill them. The Faceless Ones is among the latter: as it heads into the second half, you can feel the plot begin to stretch itself out. There are some great cliffhangers to perk things up, at least.

Nowadays Who fans have a tendency to watch whole stories in one sitting, almost like a movie — most of them are about that length, after all. But someone once observed that a lot of overlong, awkwardly-paced serials suddenly make more sense if you watch them one episode at a time; that each part works as a 25-minute chunk of TV, and when you watch them in one go you don’t see the trees for the wood. The Faceless One is almost a case in point, because each of the earlier episodes are enjoyable in isolation, and the later ones have their moments; but, with hindsight, there is a lot of back-and-forthing, and I can well imagine that, watched all in one go, it feel long, slow, and spread thin.

The last two instalments are the worst culprits. The writing’s quality dive-bombs in the penultimate episode as other characters basically explain the plot to the Doctor and Jamie, while episode six offers a rather sedate finale, with a bit of drama early on giving way to a lot of protracted business to resolve the situation. It also features the most bored-sounding delivery of the line “you fools, how can you trust him” imaginable. To cap it off, this is Ben and Polly’s last episode, and they’re written out poorly. It’s nice that they decide it’s time to return to their own lives, rather than being forced to go or stuck with a thin romance or something (as other companions would be), but it’s terribly handled: they’ve not been in it for weeks, then suddenly realise it happens to be the same date they first joined the Doctor so, hey, why not leave now? And the Doctor’s goodbye speech: “Ben can catch his ship and become an admiral, and you, Polly… you can look after Ben.” Eesh.

As for this animated reconstruction, it looks a lot stiffer and flatter than Macra Terror, which feels like a disappointing step back. Some of the animation models are quite poor, suffering from Thunderbirds syndrome (i.e. too-big heads) or with odd posture, and sets are basic in places. I don’t know the behind-the-scenes details — maybe it was made on a reduced timescale or budget, or maybe it’s the strain of having to do 50% more episodes, or maybe they were trying to be more faithful to the live-action originals (two episodes of Faceless Ones survive, although they’ve been animated too, for consistency), or maybe it’s just that a ‘60s airport is visually duller than a far-future colony. Whatever, it does nothing to enliven the mediocre script. Still, I personally find these animated visuals better than nothing (others disagree), and I’ll happily buy every one they produce.

Archer  Season 6
Archer season 6When I watched Archer’s fifth season (aka Archer Vice), I was picking it back up after years away and was set to continue it. That was in 2018. Although I was quite positive in that initial review, I was less positive by the end, and that was my enduring memory of it. Well, I’m happy to report I found season six to be a return to form.

I observed of Archer Vice that the change of setting from spy agency to drug dealers was immaterial because it was the characters not the situation that mattered. That’s true to an extent, but I suspect not entirely, because here they’re back to being spies and it all seems to have sparked back to life. That’s kind of ironic because, as anyone who follows the show will know, they eventually moved on from spies to rotate through a different setting/genre every season, which was because they’d run out of spy stories to tell; and yet comedic spy stories are clearly what these guys do best. So, I’m wary of where it’s going to go in seasons I’ve not yet got to, but, for the time being, I’m enjoying it again. This time I don’t think it’ll be years before I watch the next season.

The Twilight Zone  ‘Worst Of’
The Mighty CaseyIn last month’s initial selection of The Twilight Zone’s worst episodes I found one or two that weren’t wholly terrible. I’m not sure this selection fares even that well…

Going from worst to ‘best’, the episode placed 155th (of 156) on my consensus ranking is The Mighty Casey. It’s a very silly story about a robot baseball player, which substitutes loopy sound effects and the incredulous expressions of onlookers for its lack of special effects, and I guess also to cover for its lack of adherence to the laws of physics. The only interesting aspect of the story is the reactions — or lack thereof — from characters when they learn Casey is a robot. It appears to be set in the then-present of 1960, but no one’s like, “holy shit, you built a lifelike robot who can pass for human and play baseball!” No, they’re only concerned with whether his roboticness needs to be reported or kept secret. That dilemma ultimately leads toCasey needing to be given a heart, but once he gets one he’s too compassionate to keep playing. So the ultimate message is… you need to be heartless to be a sportsman? I mean, I don’t care for sports much myself, but even I think that’s stretching it. Maybe baseball fans would get a kick out of this episode, but for the rest of us it’s just rubbish.

Equally as daft is Black Leather Jackets, in 154th. A trio of young bikers move in next door to a nice all-American family, but there’s more to the lads than meets the eye. The kindest thing I can say about this episode is that some of it is nicely lit. Unfortunately, the script is pretty crap, with the dialogue being particularly awful. “Do you know the word… love?” Seriously. It’s like a spoof of bad ’50s sci-fi, but it’s real and it was made in 1964. ScreenCrush’s Matt Singer says it’s “arguably the most dated of The Twilight Zone’s 156 episodes” and I think he might be right. And after 20 minutes of uncomfortable ludicrousness, it comes to an entirely unearned bleak ending. Twilight Zone may be most famous for its last-minute surprise reveals, but when they were bad, they were really bad.

The Whole TruthIn 153rd is The Whole Truth, which is about a car that’s been haunted since it came off the production line — although this one’s considerably less threatening than Christine. Instead of a murderous machine, this ‘haunted’ car merely compels its owner to be completely honest at all times. Unfortunately for used car salesman Harvey Hunnicut, he only learns this fact after he’s bought it. It’s an obvious idea — forcing a used car salesman, that most dishonest of individuals, to tell the truth — but it doesn’t go anywhere particularly interesting with it, other than a totally far-fetched and implausible finale. Yes, far-fetched and implausible even by Twilight Zone standards! Singer calls it “the dumbest twist in the history of The Twilight Zone” and, again, I’m inclined to agree.

In the episode titled The Chaser, the eponymous character is a young man in love with a woman who doesn’t reciprocate his affections, but through a coincidental contact he meets a fellow who sells him a guaranteed love potion. The scene where he purchases the potion is really quite good, but on the whole it’s painfully obvious that this is going down a “be careful what you wish for” pathway, and all we can do is wait for it to play out. They’re not even nice characters to spend time with — he’s a pathetic obsessive and she’s a bitch. And after he gets what he wished for and doesn’t like it, he considers a spot of murder. It’s a bit… much. And the morals of it all are a little foggy, to say the least — as many commenters observe, it’s dated into being uncomfortably sexist. There’s an angle that could make this storyline worked (critical of the guy trying to drug a woman into loving him), but that’s not what’s played here.

The Incredible World of Horace Ford is one of The Twilight Zone’s most interesting failures thanks to its production history: the script was previously performed as an episode of a different show in 1955, and by the sounds of things it was just restaged wholesale for TZ. That’s probably why it doesn’t feel like it quite fits in properly — it’s something broadly Twilight Zone-ish that’s been recycled rather than a bespoke episode. It’s about a 37-year-old manchild toy designer who constantly reminisces about stuff he did when he was 10… and yet somehow he’s managed to find himself a caring wife, friends, and hold down a job for 15 years. Maybe we’re supposed to think he wasn’t always so stuck in the past, but the way other characters indulge him makes it seem like he was, even if he’s getting worse as the episode begins.

The Incredible World of Horace FordThe lead actor is Pat Hingle, of Commissioner Gordon in Batman ’89 fame. He gives a convincing performance… if this was about a Big-style situation of a stroppy 10-year-old boy trapped in a 37-year-old’s body, but that isn’t what’s actually happening. There’s an equally misaligned performance from Nan Martin as his wife: it constantly feels like she knows more than she’s letting on about what’s really happening, like the twist might be she’s responsible for, or at least knows, what’s going on… but she isn’t and she doesn’t. Honestly, I don’t blame the actors for struggling with how to play their roles, because it’s not like the story makes it clear for them what’s meant to be going on. At first it seems like another of the series’ “you can’t go home again” episodes about a man in love with nostalgic memories of his childhood, but then it turns out it’s some kind of time-loop thing… or… not. The resolution is maddeningly, deliberately inexplicable. And, yeah, turns out it is just another version of “you can’t rely on your memory of good times”. To compound the problem, it’s a season four episode, so of course it takes its sweet time playing out a storyline over 50 minutes when it only needs the 25 minutes of other seasons; and the time loop factor makes it literally repetitive.

Finally for now, Four O’Clock, which is about a mentally deranged man who wears a far-too-tight waistcoat — and, more importantly, arbitrarily decides he’s going to eradicate all evil in the world at 4pm that afternoon… he just hasn’t worked out how yet. You see, he’s spent his days investigating bad people (i.e. those whose lifestyle choices he personally disagrees with) and trying to rat them out to their employers and the like, but he’s not really getting anywhere. Naturally, it comes to an appropriately ironic ending. Paste’s Oktay Ege Kozak reckons it’s “like lazy Twilight Zone fan fiction: it exploits every pattern the series had developed so far and executes it without much originality or flair”, which is a bit harsh, but also kinda fair. Aside from the predictability of the ending, the episode’s only real problem is that it’s like spending 25 minutes in the company of an internet troll. It might be an accurate portrait of a self-righteous busybody, but that doesn’t mean it’s pleasant to be around him.

Also watched…
  • The Big Night In — The UK’s two big charity telethons, Children in Need and Comic Relief, teamed up for the first time ever in aid of charities who help the most vulnerable at this difficult time. The three-hour event attracted a lot of unnecessary bile on social media. Okay, it wasn’t the greatest TV programme ever made, but it was alright (not significantly worse than these things normally are, I didn’t think), and had a few genuine highlights. The best bits were probably a new Blackadder-adjacent sketch guest starring Prince William, and Catherine Tate’s Lauren being homeschooled by her teacher, played by David Tennant (reprising the role from an old Comic Relief sketch) — “Are you or have you ever been a doctor? Are you a member of the WHO?”
  • Farewell, Sarah Jane — The tie-ins to Doctor Who Lockdown events have only become more elaborate since I wrote about them last month. This is probably the highlight, though: a new, final story for spin-off series The Sarah Jane Adventures, written by creator Russell T Davies and performed by a host of cameos, all to pay tribute to the late, great Elisabeth Sladen via her iconic character, Sarah Jane Smith. You can watch it on YouTube here.
  • Star Trek: Picard Season 1 Episode 7 — I only watched one more episode all month?! Oh dear. Three to go…

    Things to Catch Up On
    Killing Eve season 3This month, I have mostly been missing Killing Eve, the third season of which is currently airing between iPlayer and BBC One. For the first two seasons we had to wait until after it had finished in the US so they could put the whole lot up on iPlayer at once, which no one noticed during season one but drew a lot of criticism during season two (you can work out why, I’m sure). Consequently, I binged those first two seasons (indeed, I came to it late, so went straight through them both), so I wasn’t sure about watching it weekly now. Also, Devs, the latest work from Alex Garland, which frankly I wasn’t even aware existed until it popped up over here (when it had already almost finished in the US). I’ve seen very mixed reviews of it, but I still intend to watch it. But, as noted above, I still haven’t finished Picard, and I’m determined to get that done before I start anything else. Hopefully next month.

    Next month… hopefully I’ll finish Picard and get on to some of the stuff I’ve been missing. Also, I’ve got my eye on more classic Doctor Who, plus a third (and, I think, final) selection of the worst of The Twilight Zone.

  • The Past Month on TV #57b

    I’ve blathered on so much this month that, for the first time, I’ve split the TV post in two for ease of reading. It’s all about what’s best for you, my dear readers.

    For this month’s introduction and a bunch of Doctor Who stuff, look here. For everything else — Red Dwarf: The Promised Land; Mark Kermode’s Secrets of Cinema series 2; the worst of The Twilight Zone; odds & ends, and what I’ve missed this month — continue…

    Red Dwarf  The Promised Land
    Red Dwarf: The Promised LandThe 13th iteration of Red Dwarf eschews the normal episodic format for a single 90-minute special, in turn ditching the expected Red Dwarf XIII moniker for a subtitle. Well, the show has form in this: for its 21st anniversary revival we got Red Dwarf: Back to Earth instead of Red Dwarf IX, which wasn’t a whole series but instead a 90-minute single story (in that case split into three half-hours, but still).

    Indeed, despite the feature-length format, The Promised Land is not “Red Dwarf: The Movie” — it still very much looks and feels like the show has in its Dave era, not least because it was still shot in front of a studio audience. Fortunately, it does still justify its running time by being more than just three episodes strung together. Writer Doug Naylor probably could’ve separated ideas from the plot out into three separate storylines if he’d wanted, but as it stands it just plays like a super-sized normal episode. That’s not a criticism — everything’s on form, making this at least as good as any other episode the show has had recently (and, if you go looking through my previous reviews, you’ll see I enjoyed most of those too).

    The feature-length shape does allow for some variety in tone, including a strikingly emotional scene between Lister and Rimmer. As I saw someone say on social media, “I didn’t know this show was capable of that.” It leans on the fact these characters have an onscreen relationship lasting over 30 years — not explicitly, but you do feel the weight of that time spent together. It’s actually quite a beautiful moment, with a lovely analogy that has a part to play in the equally emotional finale.

    Talking of those 30-odd years, in so many ways this feels like an anniversary special. Not just because it’s a feature-length one-off (for which, as I mentioned earlier, the show has form), but in the way its plot calls right back to the very first episode of the programme, delivering on story elements not seen since that first series, and with a ton of nods and winks to episodes throughout the years too. It makes me wonder if it was written for the 30th anniversary (which was two years ago), but it took longer than intended to get the gang back together. Certainly, if it had been pitched as a 30th anniversary special, I don’t think anyone would’ve been disappointed.

    Indeed, they weren’t disappointed now, with the reaction on social media looking overwhelmingly positive. I don’t think that’s a given, nor newness bias — I remember Back to Earth facing a mixed-to-negative response — so I think The Promised Land can be judged a success all round. Personally, it’s made me want to dig out all the old DVDs (or perhaps upgrade them to Blu-ray) and rewatch the whole series.

    Mark Kermode’s Secrets of Cinema  Series 2
    Mark Kermode's Secrets of Cinema series 2Mark Kermode’s insightful deconstruction of cinematic genres returns for a full second series (following a few occasional specials last year). I say “full” — three episodes. Whereas the first series took on a fairly random selection of enduringly popular genres, this batch somewhat follows the example set by last year’s specials by being particularly timely. Those were themed around when they aired (Christmas movies at, obviously, Christmas; Oscar winners just in time for, obviously, the Oscars; and disaster movies ahead of, obviously, the current crisis. No, I jest, it was for Bank Holidays), whereas these episodes tackle the genres du jour: superhero movies (can’t get more top-of-the-zeitgeist than that), British history movies (including modern history movies like Bohemian Rhapsody and Rocketman, both recent hits), and spy movies (which would’ve coincided perfectly with the release of No Time To Die if that hadn’t had to be postponed).

    In typical BBC Four fashion, the series if both educational and entertaining. Even if you’re a well-read movie buff, Kermode (plus writer Kim Newman) are likely to draw out at least some connections or comparisons you haven’t thought of it, but are always on the money and enlightening. But as well as being information, they make for an entertaining overview of the genres in question, working both as a kind of clip show to relive each genre’s highlights, and, with their relative comprehensiveness, to suggest some films you might not have seen yet. For example, British history is such a broad catch-all kind of subject (as Kermode acknowledges in the programme, each time period is really its own subgenre) that I came away with a list of 17 films I wanted to watch or rewatch. I always think that’s a mark of a good film documentary: one that makes you want to see the movies it’s talking about.

    (Series 2 and the Oscars special are currently available on iPlayer. Kermode said on Twitter that they’ll be putting the older episodes back up too, but they haven’t yet.)

    The Twilight Zone  ‘Worst Of’
    Cavender is ComingFor the past year I’ve been working my way through episodes of The Twilight Zone that are considered to be among its very best. But if I carried on like that, my overall experience of the show would be to see its quality gradually tail off, and someday my time with it would end by watching its weakest instalments. That doesn’t seem a fitting fate for such a classic series. It’s too late for me to save some of the very best for last, but I can jump the gun a little and watch some of the most poorly-regarded episodes now. Naturally, I’ve used the lists I compiled for a consensus ranking to curate this selection. I’ve taken the last-place choice from each full-series ranking, and that also happens to include the episode with the lowest average score across all the lists.

    First up, the episode with the lowest rating according to IMDb users, Cavender is Coming. On average it comes 107th (out of 156), the highest of these five, with TV Guide even placing it in their top 50 (at #38), but clearly IMDb users have something against it. It stars Carol Burnett as a klutzy lady who keeps losing her job, so she’s assigned a guardian angel to make things better. Said angel is last-chancer Cavender — if he fails this task, he’ll be kicked out of angel school… or something. I don’t know. The Twilight Zone is notoriously bad at comedy, and this is probably the most outright sitcom-y episode of them all — it even aired with a laughter track originally. Nearly everyone reserves some praise for Burnett, which I guess is to do with her being an iconic figure of American TV or something. Not that she’s bad, but she does little to elevate a message-less episode. Even after watching the next four, I tend to agree that this may be the very worst episode of them all.

    Proceeding down the average rankings, next is ScreenCrush’s pick, Execution (135th overall). It’s an odd little story with a kinda daft premise: in the Old West, a criminal is about to be summarily hung, but he disappears into thin air… and appears in the present day, courtesy of a ‘time machine’ that randomly scoops a random individual randomly out of the past. How? Why? Who cares! No spoilers, but the unwitting time traveller finds the modern world all a bit much, and someone ends up being transported back. The point of the story is… cosmic justice? Or something? I guess? Getting into spoiler territory now, the episode almost poses an interesting moral question: “if a murderer deserves to be hanged, does the murderer of a murderer deserve to be hanged?” Unfortunately, it doesn’t actually engage with that at all. In fact, it seems to take it as read that the modern-day criminal who gets accidentally sent back to the 1880s deserves his fate. But, as far as we know, he only murdered another murderer — so, by that moral standard, don’t the rest of the “neck tie party” (as Serling repeatedly calls the group of hangmen) also deserve to be hanged? Food for thought. Unless you’re a brainless supporter of the death penalty, I guess.

    The JungleThe worst episode according to Buzzfeed is The Jungle, which comes 148th overall. It’s about an American engineer who’s just returned from a trip to Africa where his company is planning to build a hydroelectric dam, and he may’ve been cursed by natives opposed to the project. As you’ve probably guessed, the episode’s biggest problem is some old-fashioned kinda-racist stereotypes about Africa and its people. I mean, the episode doesn’t even bother to say which country he’s been to, it’s just “Africa”. It’s not overtly racist, I don’t think, but it’s certainly tone deaf. There’s a scene where our hero discusses the project with the board of directors that juxtaposes the idea of witchcraft, which they all laugh at, with the irrational superstitions they all practice (not walking under ladders, etc), which is kinda neat, basically saying that “you laugh at their beliefs because you think of them as simple folk, but it’s no worse than our superstitions,” which is truthful and borderline enlightened. But that’s about all the episode has going for it. By the time he’s travelling home through the implausibly empty nighttime streets of New York City and being haunted by jungle sounds, it all seems pretty silly; and then his cab driver just drops dead, and a tramp appears and disappears out of thin air, and you wonder what all that’s got to do with anything. The only moral the episode can offer is “maybe some superstitions are right”, which is poppycock.

    So far I’ve watched nearly a quarter of all episodes of The Twilight Zone, but I’d only seen one from its fourth season before today. That’s probably because I’ve been focusing on the show’s best episodes, and everyone seems to agree that season four is its weakest. Nonetheless, there’s only one episode from that season among this initial batch of bad episodes: I Dream of Genie, Paste’s pick for the very worst and 152nd on average. It’s about a downtrodden clerk who’s presented with the opportunity to wish for anything he wants, and considers carefully via a series of imagined alternate lives — which conspire together to pad out the episode’s running time, of course. In his first imagining he fails to conceive of a world in which he’s not being pushed around, and if that had continued through his other fantasies we might’ve been on to something here — a sad examination of how being so mistreated can seep into your very way of being. But it’s not aiming for that, because this is A Comedy One and so tragic insight is out of the question. The whole thing is half arsed in conception, and also flabby — Serling could definitely have told the same story in half the time without losing anything of value, which I think is a consistent problem with the season four episodes. I didn’t hate it — it’s probably the best of these five — but it’s far from a great episode.

    Sounds and SilencesFinally, we end as we began, with an episode voted on by the public: at the bottom of Ranker’s list, and last on average too, is Sounds and Silences. It’s about an excessively-loud, domineering blowhard who gets some measure of comeuppance when he begins to be bothered by everyday sounds like a dripping tap or ticking clock. And then it goes the other way and he can’t hear loud noises at all. It’s poorly written and terribly performed — in the lead role, John McGiver is overacting something rotten. Some criticise the undercurrent of misogyny in the storyline, but I don’t know about that. He blames his mother and his wife for all his problems, but he’s an unlikeable sod so surely any misogyny is his rather than the episode’s — we’re not being asked to agree with him. The character’s ironic fate may be some form of poetic justice, but it’s too long coming to be entertaining, and too obvious to be satisfying. Whether I disliked this or Cavender is Coming more, I’m not sure, but they both merit their places at the bottom.

    Also watched…
  • McDonald & Dodds Series 1 Episode 2 — The second episode (of two) in this (very short) series was slightly better than the first, but not by a huge amount. I’ll probably keep watching if they make more, mainly to spot filming locations that I recognise. If it weren’t for that I wouldn’t bother.
  • One Man, Two Guvnors — This isn’t really TV, but nor is it really a film (although it was released in cinemas, so I could’ve counted it if I wanted). What it is is a filmed stage production, which the National Theatre released on YouTube for free — but only for one week, so I’m afraid it’s gone now. It was really good. Sorry. Currently available is a 2015 production of Jane Eyre (their channel is here), with more to follow every Thursday (more info here.
  • The Rookie Season 1 Episodes 7-15 — Churned through a pile of this in next to no time because it’s relatively easy viewing but with enough bite to keep it interesting. One of those shows that will never be a classic or top of the zeitgeist, but is highly watchable.
  • Star Trek: Picard Season 1 Episodes 4-6 — Way behind on this because it never engages me enough to choose to put it on. That said, I’ve found these middle episodes a bit better — I quite enjoyed the silliness of episode five, Stardust City Rag. But it’s the series’ lowest-rated episode on IMDb, which suggests other Picard viewers and I may be at odds about what makes good TV…

    Things to Catch Up On
    Westworld season 3This month, I have mostly been missing Westworld season 3, which is now four or five episodes in. I’ve not seen anyone talking about it on social media, so I’ve no idea if it’s good or bad, but I am inferring that not as many people are talking about it anymore, which is its own kind of criticism. One show I have heard mentioned is Tales from the Loop, Amazon’s new anthology sci-fi series. That’s been picking up good notices, and I thought it looked interesting anyhow, so I must make time for it.

    Next month… more animated classic Doctor Who; more of the worst of The Twilight Zone; and maybe I’ll even finish Picard or watch The Mandalorian, too…

  • The Past Month on TV #57a

    I get the impression many people have been using their newfound homebound status to watch lots of TV. I’ve mostly been focusing on films, however, so this month’s TV update doesn’t actually have a whole lot of different things to cover (certainly not when compared to, say, last month). Even though I’m finally posting this about a week later than I originally intended, I still haven’t had much to add to it.

    That said, what I have been watching is the kind of stuff I write a lot about — mostly, classic Doctor Who and The Twilight Zone — so much so that I’ve actually decided to split this update into two posts, because it was getting unwieldy. Today: Doctor Who stuff. On Friday: everything else.

    Doctor Who  Rose
    Doctor Who series 1If you’re active (or looking in the right places) on social media, you may have noticed that there have been a bunch of Doctor Who watchalongs happening recently — you know, where people from around the world all watch the same thing at the same time and tweet about it. Organised by Doctor Who Magazine’s Emily Cook to provide something nice for Whovians in these trying times, they’ve been rather a big success — they’re always all over the trending topics on Twitter, and big names from the show have been persuaded to sign up and join in. The most recent one, to mark the 10th anniversary of Matt Smith’s debut episode, saw all three of its stars (Smith, Karen Gillan, and Arthur Darvill), plus writer/showrunner Steven Moffat and director Adam Smith, sharing thoughts and memories during the episode. Plus some of them have been accompanied by new fiction or stuff dug out from the archive.

    Personally, the only one I’ve joined in with was the 15th anniversary rewatch of nuWho’s first episode, Rose. I say “joined in” — I watched the episode, then went on Twitter afterwards to catch up. I mean, you can’t watch TV and tweet along, can you? I know people think they can, because they do, but they’re wrong — you can’t. Not properly, anyway. While you’re busy tweeting, you’ll inevitably miss something — lots of somethings, even. And as I hadn’t watched Rose in about 13 or 14 years, trying to read the thoughts of thousands of other people at the same time seemed a daft idea. So I didn’t. But, weirdly, even watching it alone but with the knowledge that other fans around the globe are doing the same thing, there’s an old-fashioned sense of community — a feeling you used to have every week, when watching a TV programme live was The Way We Did TV; a feeling that’s dissipated considerably in the modern streaming era, where even traditional-TV shows are on iPlayer or whatever and many people happily choose to catch up later.

    Still, the best bit was the surrounding tie-ins written by Russell T Davies, including a non-canonical prequel about the end of the Time War (I love The Day of the Doctor with all my heart, but good golly can RTD write epic mythic Time War stuff better than anyone) and a gently satirical sequel that revealed Boris Johnson is, in fact, an empty plastic clown. I do so miss the days when RTD was in charge…

    Aside from the watchalongs, I’ve personally been digging even further back into Who history…

    Doctor Who  Animated Missing Episodes
    Like silent cinema before it, early television was viewed as disposable, its value lying in the moment of its airing. The only reason to keep a TV programme after broadcast was to sell to other territories, or possibly to archive a handful of episodes as an example of what was produced. In the 1960s and ’70s, the BBC began to junk some of their archive, to reuse resources and make space for newer things. Many programmes fell victim to this destruction, but one of the highest profile has been Doctor Who. That’s what happens when there’s a dedicated fanbase who want to hang on to every second of something.

    By the time the junkings stopped, 152 episodes of Doctor Who had been lost. Over the years there have been extensive efforts to recover these missing editions. There have been many successes, but 97 episodes remain missing. (For far more detail on all this, you could do worse than this Wikipedia page.) But thanks to the efforts of a few determined fans who recorded the programme’s audio as it was broadcast, the soundtracks for every single episode survive. Over the years, these have been used to help plug the gaps in various ways — released on cassette and CD; paired with photographs to form slideshow-like visualisations; and, most recently, used as the soundtrack for animated reconstructions. I’ll spare you another potted history of those, but after a faltering start they’re turning into a regular drip feed.

    Now, during the most recent series of Doctor Who (reviewed in these three posts) I came to the realisation that I hadn’t watched any of the classic series in a long time — five years, in fact, back to when I paired up one classic serial to every new episode of Peter Capaldi’s first series. What better way to get back on the wagon than with the animated reconstructions, most of which have been released in that five year gap? So I’m beginning with the first of the current wave of animations, and more should follow.

    The Power of the Daleks

    The Power of the DaleksThe first of the current wave of animations was The Power of the Daleks — a good place to start anyhow because it’s Patrick Troughton’s debut serial in the lead role. As he was just the second (canonical) Doctor, that makes the serial significant for the ground it was breaking — it’s the first time we’re introduced to a new actor taking over the series, something that’s become a staple of the programme (to the extent that the major plot lines and revelations of the most recent series were about the Doctor’s ability to regenerate). Sensibly, the production team paired their new leading man with the thing that had ensured the series’ popularity: the Daleks. And while the Doctor is dealing with a change of face and attitude, so are his enemies: these Daleks are keen to act as subservient aids to a human colony who have discovered their long-buried space capsule. Surely the evil fiends can’t’ve turned good?! (Spoiler alert: of course they haven’t.)

    Away from such juxtaposition of temperament, it’s a good chance for the new Doctor to prove his mettle. It worked, too — obviously so in the case of ensuring the series’ longevity, but also as a story in its own right: in the last Doctor Who Magazine poll, this was voted the 19th greatest Who story ever (which, out of a list of 241 stories at the time, is no small achievement, especially for a missing black & white adventure. Indeed, if you limited the poll to just black & white stories, it came 3rd). It’s easy to overlook now, when we’re so used to regeneration, but Troughton comes in and makes the role his own, plays it his own way, isn’t even vaguely an emulation of Hartnell. It would’ve been the easiest thing in the world to cast someone like Hartnell and have them behave like Hartnell, but changing the character up so much is a braver, more interesting choice — and probably really helped the programme in the long run.

    As for the story itself, as well as the mystery and threat of the Daleks it has a nice line in the petty political squabbling and machinations of the human colony’s leadership. Almost as much time is spent worrying about rebels, sabotage, and plots to rule as there is about the Daleks. I feel like that’s the kind of extra angle that often gets overlooked in Who nowadays, what with the need to deliver fast-paced 45-minute blocks of entertainment. (Maybe that’s unfair — almost everything of interest gets overlooked in Who right now, and previous eras of the revived show certainly weren’t averse to a little commentary on the pettiness of humanity.) There are some great performances too, especially Robert James as the scientist Lesterson, who has the most prominent character arc of anyone across the serial. His ultimate fate is particularly well written and acted, his final moments tragic and hilarious and barmy all at once.

    As for the animation, it’s understandably a bit basic (these are not big-budget productions) and at times unsure what to do with itself — there’s the occasional bit of ‘dead air’ in the original soundtrack, probably where someone was just walking across a room or giving a reaction shot or something, and the animation isn’t quite up to filling the gap with something of interest. There are definitely times when it feels like you’re missing a little bit of business that was deemed too difficult or vague to animate. It would’ve been nice if they could’ve invented something to happen during those moments, instead of just holding on shots of literally nothing going on. But that’s probably nitpicking. As a visual to accompany the soundtrack, it’s more than adequate. Given the choice between this, a slideshow of rarely-changing photos, and audio-only, I’ll take the animation, thanks.

    The Moonbase

    The MoonbaseNext up by the series’ original chronology is The Moonbase — in terms of animation, Power was released in 2016 while The Moonbase was done in 2013; and half the serial survives, so it’s only half animated. It’s actually this older effort that looks better, the animation feeling much smoother and more realistic than Power, and making that look even more stilted and Flash-y by comparison. Apparently production on Power was incredibly rushed, and obviously they had to complete six episodes vs just two for The Moonbase, but the visual style is also slightly different; less obviously cartoonish.

    As for the story itself, we move from one iconic Who monster to another: the Cybermen. And it’s another landmark in Who history: the first base-under-siege story, a subgenre that would become a staple of the Troughton era and keep popping up in the decades to follow. It’s also only the second Cybermen story, and they show off a sleeker redesign, which sets a precedent — whereas the Daleks have looked fundamentally the same since their first appearance, the Cybermen are redesigned almost every time they appear. Personally, I love the Cybermen, but this is not their finest hour.

    The serial’s biggest problem is that it seems slow and uneventful. It begins with the Doctor and friends having a jolly holiday on the Moon, which I actually quite liked — bear in mind this was made in 1967, two years before man actually walked on the Moon, and you can see why the very fact of our heroes being there would be worthy of such emphasis. But it sets the tone for the story to come — Episode 2, for example, mostly revolves around the base’s crew spouting technobabble while they run checks to repair a machine. This came 113th in the aforementioned DWM poll, and with time wasting like that it’s easy to see why. At least the cliffhangers are effective, even if they don’t always make sense — but you can see how that would build the series’ reputation for them. It’s a shame such a defining aspect of the show has mostly been lost in the modern era.

    The serials was written by the Cybermen’s co-creator, Kit Pedler, an actual scientist who was brought on to bring “scientific rigour” to the programme. These scripts do feel like they come from someone with a keen interest in science — there’s plenty of jargon thrown around; the Doctor runs medical tests and experiments (rather than just waving his sonic screwdriver around as he would nowadays); Ben and Polly cooking up a plan to defeat the Cybermen with a solvent cocktail, based on Polly’s nail varnish remover…! It’s easy to joke about “defeating Cybermen with nail varnish remover”, but it’s a scientific way of problem solving, which is quite good really for a show that was still very much aimed at children and with some degree of an educational remit. It’s just a shame that the narrative around it is so sluggish. Maybe they were going for “atmospheric”. I don’t think it worked. Shame.

    The Macra Terror

    The Macra TerrorMuch more successful in that department is The Macra Terror. No full episodes survive of this serial, so it’s back to 100% animation, and once again we have a change in style. It’s in widescreen, and it’s in colour, and the locations are bigger and more varied than they would’ve been on ‘60s TV, and the audio is so clean and clear it could’ve been recorded yesterday. It makes for a surreal viewing experience at first — are we sure this is a genuine Second Doctor story from over 50 years ago, not some recreation with perfect impressionists? After the previous animations tried to emulate the style of the original episodes, it’s a definite change of pace, but why not? It certainly brings some added dynamism to a few of the scenes — like Power, there are some all-but-silent sections; unlike Power, many of them now have some interesting visuals, which is most welcome. They had to make some trims here and there, I think for budget reasons (stuff that is inessential to the main narrative and would’ve been time consuming to animate), which is a shame (it would’ve been particularly fun to see the whole TARDIS crew dance a jig to escape at the end), but it is what it is.

    As for the story itself, it offers an intriguing setup, with a good setting (a colony of happy workers) and mystery (what was seen by the ‘mad’ man they want to hush up?) It unfolds at a much better pace than The Moonbase, with a regularly developing and shifting plot. For example, many penultimate episodes of classic Who serials devolve into running around in place to delay the ending by another week. The Macra Terror is the antithesis of that, introducing brand new locations and plot points to genuinely further the narrative and mystery. There are exciting cliffhangers, too — again, probably much more so in animation than it was in the original live action. The Macra themselves benefit in particular. They’re basically giant crabs, which was a bit overambitious for the series to attempt in the ’60s. The originals have the look of an awkward primary school art project and aren’t actually that big, whereas the animated versions are huge and genuinely threatening. When one attacks Polly in Episode 2 it’s epic and exciting and scary… in animation. This is one of the few parts that survives from the original (thanks to censors in Australia) and… it ain’t that. The Macra is so much smaller and so much less manoeuvrable that you can see Anneke Wills and Michael Craze working overtime to convince you their escape requires any more than just getting up and wandering away. It’s a perfect example of how the artistic licence taken by the animators has paid off in dramatic terms.

    I’ve always got the impression that The Macra Terror has a pretty poor rep among Whovians. I hope the animation has caused it to be re-evaluated, because I think it’s really rather good.

    The Wheel in Space: Episode 1

    Finally for now, an abridged version of The Wheel in Space: Episode 1, which was created for the BFI’s annual Missing Believed Wiped event about missing TV. The Wheel in Space is a six-parter, meaning it runs approximately 150 minutes, but here we get just 11 of them. The animation itself is about the same quality level as the others, and it’s a nice little bonus in its own way, but ultimately it feels rather pointless; like an extended tease for a full-length animation that isn’t coming. The serial may well be animated in full someday (if they’re happy to do The Faceless Ones and Fury from the Deep, which have no obvious hooks to interest casual / on-the-fence viewers, then surely something with the Cybermen is a no brainer), but if they do then what purpose will this have served? I expect they’d want to do these 11 minutes again rather than make the remaining 139 to match. And if they don’t ever do it in full, well, the serial is still left with three-and-a-half episodes visually missing. But, like I say, it’s enjoyable enough for what it is.

    In Part 2… new Red Dwarf; Mark Kermode’s Secrets of Cinema; the worst of The Twilight Zone; and quickies on McDonald & Dodds, The Rookie, Star Trek: Picard, and National Theatre’s YouTube stream of One Man, Two Guvnors — which, I’ll tell you now, is great fun, worth your time, and you only have until 4pm tomorrow to start watching. It’s here.

    The Self-Isolated Monthly Review of March 2020

    I hope you’ve got time for a long read (I know you do — you’re stuck at home too, right?) because there’s a tonne of stuff to witter about in this month’s update.

    So, settle down with some of the stuff you’ve stockpiled (well, okay, you shouldn’t really need pasta or loo roll to get through this post… I hope…) and while away your isolation with my self-centred lists and stats.


    #31 The Karate Kid Part II (1986)
    #32 Won’t You Be My Neighbor? (2018)
    #33 The LEGO Movie 2: The Second Part 3D (2019)
    #34 Harakiri (1962), aka Seppuku
    #35 Showman: The Life of John Nathan-Turner (2019)
    #36 Judgment at Nuremberg (1961)
    #37 The Invisible Guest (2016), aka Contratiempo
    #38 Godzilla: King of the Monsters 3D (2019)
    #39 Hustlers (2019)
    #40 Fast & Furious: Hobbs & Shaw (2019)
    #41 Last Chance Harvey (2008)
    #42 Red Joan (2018)
    #43 Late Night (2019)
    #44 Quartet (2012)
    #45 The Lady Vanishes (1938)
    #46 Ice Age: Dawn of the Dinosaurs 3D (2009)
    #47 The Platform (2019), aka El hoyo
    #48 The Battle of Algiers (1966), aka La battaglia di Algeri
    #49 Spider-Man: Far from Home 3D (2019)
    #49a Peter’s To-Do List (2019)
    #50 The Mad Magician 3D (1954)
    #50a Spooks! 3D (1953)
    #50b Pardon My Backfire 3D (1953)
    #51 A Man for All Seasons (1966)
    #52 The Viking Queen (1967)
    #53 Aladdin 3D (2019)
    #54 One Cut of the Dead, aka Kamera wo tomeruna! (2017)
    #55 Knives Out (2019)
    #56 The Breakfast Club (1985)
    #57 So Dark the Night (1946)
    #58 Missing Link (2019)
    Harakiri

    The Invisible Guest

    The Lady Vanishes

    Knives Out

    .


    • I watched 28 new feature films in March. Boy, does that give me a lot to talk about…

    So, let’s break it up a bit. First, some stats…

    • That’s my biggest month since July 2018, which also had 28 films. They’re now tied as my 4th best months ever.
    • Talking of all-time numbers, it’s my best March ever, with a total that’s double the month’s previous average of 14.4. In fact, it single-handedly pulls that average up by over one whole film, to 15.5.
    • Talking of averages, it also surpasses and increases both my rolling average of the last 12 months (previously 12.75, now 13.3) and my average for 2020 to date (previously 15.0, now 19.3).
    • Talking of numbers that are almost 20, it’s my 20th month ever to have 20+ films, and my first 20+ month since last May.
    • Talking of months with 20+ films, March is the month where I have the greatest consistency at reaching a total of 20+. I’ve done it every year since 2016 — that’s five years in a row now. It means March makes up fully 25% of all months with 20+ films. For comparison, there’s no other month where I’ve done it for more than two years in a row.
    • Another milestone: I reached (and passed) #50, i.e. halfway. Except I’m aiming for at least 120 nowadays, so halfway is another couple of films away yet.
    • Nonetheless, this is the second-furthest I’ve ever reached by the end of March, just ahead of #57 in 2018, but reasonably far behind 2016’s #67. What does this tell us about how the rest of the year might pan out? Bugger all. In 2018 I ended up reaching #261, whereas in 2016 I ‘only’ got to #195. And for another point of reference, March 2015 ended at #44, over 20 behind 2016, but ended the year five ahead, at #200. So, y’know, it’s all meaningless.
    • I also had a really good month for my Rewatchathon (see further down this post for more about that). I really should go back and produce a full set of numbers for every month so I can include that in comparisons too…

    Talking of my Rewatchathon, what of my other viewing challenges…

    • This month’s Blindspot films: influential guerrilla war movie The Battle of Algiers; plus, I watched the first of what I’m calling my ‘overflow’ films (unseen leftovers from previous Blindspot challenges), seminal ’80s teen comedy The Breakfast Club. Also Harakiri, which merited a mention in my Blindspot post this year about why it wasn’t included (I’d forgotten about that when I randomly chose to watch it anyway!)
    • From last month’s “failures” I watched Fast & Furious: Hobbs & Shaw, Hustlers, The Karate Kid Part II, and Late Night.

    Finally, some observations about the other films…

    • It’s fundamentally meaningless, but this month I watched my first feature films of the years whose titles begin with nine letters of the alphabet: F, G, H, I, K, O, Q, V, and W. That’s 35% of the alphabet covered in one month — only slightly more than the seven / 27% in January and eight / 31% in February, but then this task gets harder as the year goes on (January has a massive advantage, for hopefully-obvious reasons, whereas the most any of the remaining nine months would now be able to manage is two / 8%).
    • Another first: The Viking Queen was the first film I’ve watched on DVD this year.
    • Talking of DVDs, I watched Judgment at Nuremberg on the BFI’s recent Blu-ray release, which I bought even though I’d only bought the DVD a little while ago. Well, when I fished out that DVD to put on my “to sell” pile, I found it still had the dispatch receipt inside, which showed I bought it in… 2010. A whole decade ago! Sometimes I worry about my sense of the passage of time…
    • As you can tell (as if you didn’t already know), picture quality is important to me. So I could probably write an entire post about the weirdness I’ve been experiencing with Netflix’s PQ of late. I started streaming The Platform, but after it maintained a speed of just 0.57 Mbps — and looked terrible because of it — I gave up and, er, sourced it elsewhere. I’ve tried it again several times since, at different times of the day and night, and it’s always 0.57 Mbps. The same thing happened with Missing Link, although that was 1.21 Mbps so was somewhat more watchable (I still went and got a better copy from somewhere else, though). That led me to try about a dozen more titles, all of which came through at completely different rates, some reasonable, some not. It doesn’t seem to be connected to them needing different amounts of data or needing some time to get up to speed, either — it appears to be totally random. And it doesn’t seem to waver. I had decided to just cancel my Netflix subscription until all this is over (because I presume it’s connected to the speed-limiting they’re reported to be doing in Europe) — after all, it’s not as if I don’t have enough else to watch… but there’s loads of stuff I really do want to see on Netflix, and some of it is still streaming at a reasonable quality. So, I’m undecided.
    • As you can tell from the lack of blue text in the listing above, I haven’t reviewed a single film from this month’s viewing. I thought this might be the first time that’s happened, so I trawled back through all 118 monthly updates to check, and I can confirm… it’s not. In fact, it last happened less than a year ago, in July 2019. You have to go back over five more years, to May 2014, to find the time it happened previous to that; but it happened once in 2013 and three times in 2012, too. So, yeah, not really news.
    • I feel like the only person in the world who hasn’t (re)watched Contagion this month. If you’re interested, my quickie review from when I did watch it is here.



    The 58th Monthly Arbitrary Awards

    Favourite Film of the Month
    I saw quite a few great films this month, and usually that would make this choice very hard, but I fell head over heels for Alfred Hitchcock’s The Lady Vanishes. I don’t think it comes up too often as one of his very best, but it’s definitely one of my favourites from his whole filmography.

    Least Favourite Film of the Month
    I know it’s an acclaimed classic, but the film I least enjoyed actually watching this month was The Battle of Algiers.

    Best 3D of the Month
    I watched six new feature films and two shorts in 3D this month (plus four more features in the Rewatchathon), which I expect is a personal best. Setting aside the quality of the film itself, the one with the very best 3D was The Mad Magician. It’s in black & white, which was a bit weird at first (not sure I’ve ever seen a black & white film in 3D before), but because it’s from the ’50s it was actually shot in 3D, not post-converted, and while post-conversions are often very good nowadays, there’s so much extra subtle detail you get when something’s been shot in stereo for real.

    Best Twist of the Month
    Who doesn’t enjoy a twist? Filmmakers certainly do, and so they abound this month — even The LEGO Movie 2 has one (kinda). Prime examples include Harakiri (which keeps you on your toes with constantly shifting information), Knives Out (which has more up its sleeve than simply whodunnit), and So Dark the Night (that is a whodunnit, but if you watch it, try to read as little as possible first). But the winner this month is The Invisible Guest, because it managed to get almost as far as the reveal before I guessed what was really going on, in part by peppering plenty of about-turns along the way. Nicely done.

    The Audience Award for Most-Viewed New Post of the Month
    It’s a long-standing observations that TV-related posts do well in this category, especially when they’re given plenty of time to amass hits. So, as I posted my 56th TV column way back on the 8th, it’s no surprise to see it win out easily. (The highest film post was The Lion King.)



    As I mentioned in this month’s viewing notes, I didn’t rewatch Contagion; but that aside, my Rewatchathon is going rather well this year, racing ahead of target. Mainly, I’ve been revisiting in 3D films I’d previously only seen in 2D.

    #9 The LEGO Movie 3D (2014)
    #10 The Lion King 3D (2019)
    #11 Godzilla 3D (2014)
    #12 Sherlock Holmes and the Secret Weapon (1942)
    #13 Sherlock Holmes in Washington (1943)
    #14 Mission: Impossible – Fallout 3D (2018)

    Starting with the 3D, then, that Fallout link takes you to my full review of it in 3D, so no need to repeat myself. My Lion King review isn’t expressly about the 3D, but, as I do discuss in the review, I was impressed by it, and it led me to even enjoy the film a little more. As with most computer animated films, The LEGO Movie looks awesome in 3D. Indeed, the skilful way the filmmakers emulated the scale of LEGO is only emphasised by the use of depth here. Despite the fact I already owned the (2D-only) Special Special Edition, I bought another copy in 3D on the strength of the 3D presentations of the LEGO Batman and Ninjago movies, and I wasn’t disappointed. (Now I just ought to watch some of the SSE-exclusive bonus features to justify that purchase…)

    Godzilla‘s 3D didn’t generate much comment from me, which is a shame because you’d think the scale would lend itself. It’s not bad, just not special. The film itself is not perfect either, but it’s a darn sight better than most people give it credit for. One thing that’s often criticised is how sparingly Godzilla is actually in it, but I think writer-director Gareth Edwards paced it just right — when the big guy finally turns up, it’s an electric moment.

    I totally forgot that I’d randomly rewatched Sherlock Holmes and the Secret Weapon in December 2017, but colourised. This time was the original black & white version, as part of my rewatch of the whole Basil Rathbone Sherlock Holmes series on Blu-ray. I more or less stand by my original review, which I also stood by in 2017 (though I’m back to being less keen on Lionel Atwill’s Moriarty again), so I guess my opinion on this one is fairly certain. However, I liked Sherlock Holmes in Washington more than I’d remembered; though my original review (linked above, obv) isn’t that damning, so clearly its poorness had self-inflated in my memory. That said, I do still think it’s one of the series’ weakest outings.


    I normally begin this section by looking at the stuff I failed to see on the big screen last month, but, well, that’s dried up, hasn’t it? However, though it may feel like Coronavirus has been denying us social experiences for, like, ever, it’s actually only been a couple of weeks — before everything went completely self-isolating-tastic, cinemas were full of Onward, Military Wives, Misbehaviour, Bloodshot, Fantasy Island, and Dark Waters. Even My Spy actually came out over here (in the US it was pushed back into Bond’s vacated release slot. Presumably they’ll be abandoning that now too).

    Now, of course, you have these “direct from the cinema” rentals popping up, including Emma (which I’ve seen), The Hunt, and The Invisible Man, plus Bloodshot and Military Wives from the previous list (no Onward this side of the pond). They mostly cost £15.99 for a 48-hour rental (though Bloodshot has gone straight to £13.99 to own, suggesting they don’t expect anyone will want to). At that price, it isn’t worth it to me. For comparison, a ticket at my local cinema is £5.75 — I’m interested in seeing most of those films, but not almost-three-times-what-it-would’ve-cost-me-at-the-cinema interested. I’ll wait ’til they drop to a sensible price and/or hit disc.

    Some digital rentals have drawn me in, though — the cut-price ones Amazon offer as a perk of being a Prime member. For either 99p or £1.99 a pop I’ve got Aniara, End of the Century, It: Chapter Two, Rambo: Last Blood, and Ready or Not all ticking down to expiry dates throughout April.

    I have less compunction about splurging money on disc purchases. Last month I mentioned that “I got a bit carried away with Blu-ray purchases”, with 16 films on disc among my failures. This month puts that in the shade, with a ridiculous 40 films added to my Blu-ray collection (and I actually watched some new stuff I bought, so the true total acquired this month is even higher). Specific splurges include an Arrow sale (mostly noirs, like The Big Clock, Nightfall, and Phantom Lady, plus the Sister Street Fighter collection); an Indicator sale (their seven-film Samuel Fuller box set, plus A Dandy in Aspic, Footsteps in the Fog, The Legacy, and No Orchids for Miss Blandish — none of which I’d even heard of before Indicator released them, but they do make things sound so good); and a bunch of 3D discs of films I’d already seen and enjoyed to some degree (Bolt, Tangled, Pan, Journey to the Center of the Earth, and Noah, which is available from Germany in a well-reviewed 3D conversion). Talking of Germany, I also just discovered they’ve had Steven Soderbergh’s Solaris on Blu-ray for a couple of years, so I imported that too (for a very reasonable price, I must say, from Amazon UK). I also bought Criterion’s release of The Blob at an offer price from them, and Bong Joon Ho’s The Host at an offer price from HMV. While trying to fill out a different multi-buy offer I upgraded my old DVD of the X Files movie to Blu, which I knew would put me on track to upgrade the whole series eventually… and it did, just a week or two later, getting it for a good price secondhand on eBay… and then I upgraded I Want to Believe, just to complete the set. I also upgraded The League of Extraordinary Gentlemen — yeah, I know, but I actually quite liked it back in the day, and I saw this article on Twitter that swayed me. And that’s not even everything, but dear God, it’ll do.

    Back to streaming, then, and the big names have been trotting out plenty of content this month, only spurred on by everyone being stuck at home right now — and by the launch of a major new competitor in Disney+. I haven’t subscribed, nor taken the free trial (yet), so I don’t really know what’s on there besides what everyone’s been talking about, i.e. a months-late release of Star Wars TV series The Mandalorian (which they’re sticking to releasing weekly, even though it’s all been out in the US — and on piracy sites — for months), and the live-action remake of Lady and the Tramp.

    Over at the usual suspects, Netflix had their second back of Studio Ghibli films, which for me means Arrietty (though I own it on Blu-ray), The Cat Returns, and My Neighbours the Yamadas. I also want to rewatch Spirited Away, and as I only own it on DVD, HD on Netflix is tempting. Most of their original additions this month seemed to be TV series, although there was Mark Wahlberg in Spenser Confidential, but it was so poorly reviewed that I don’t intend to bother. From the back catalogue, they just recently added The Death of Mr Lazarescu. I remember that getting recommended a lot back when it came out. I never really knew what it was about, but the Netflix blurb begins: “Amid a pandemic”, so I can see why they’ve acquired it now.

    As for Amazon, they could offer up recent stuff like The Aeronauts (one of their own, so I think it even bypassed disc), Blinded by the Light, and Midsommar. Other additions catching my eye included sci-fi drama Marjorie Prime (I heard about this somewhere only recently, but I forget the context other than it was a recommendation); The Immigrant (Marion Cotillard, Joaquin Phoenix, and Jeremy Renner in a film from the director of Ad Astra); Antiviral (a sci-fi-horror-thriller written & directed by Brandon “son of David” Cronenberg); and Intacto (a film I’d completely forgotten all about, but the poster image struck a deep memory of something that had once been highly recommended and I really wanted to see, probably right back when it first came out, 18 years ago(!) Well, now it’s on my watchlist again).

    Both of those added a lot more than I’m bothering to list here, so if you’re a subscriber to either, do be sure to keep an eye on sites like New on Netflix UK or this Amazon equivalent.

    Finally, I went to cancel my Now TV Sky Cinema subscription at the start of the month, but they offered me a great deal: three monthscompletely free. You can’t turn that down, can you? Even if I only watched one film on there during those three months, the cost-benefit ratio would be fine. They add a new premiere every day, plus a handful of other titles now and then, but, despite that, only a couple of newcomers were worthy of note to me: The Goonies (yep, never seen that), Her Smell (people seem to keep recommending it), Robert the Bruce (the unofficial sort-of-sequel to Braveheart), and The Secret Life of Pets 2 (the first one was alright, so why not?)

    (Whew, this section is getting damn long nowadays — and that’s without the further 50 films I had on my long-list but decided not to mention. Maybe I should start doing it as a standalone post — this month it’s over 1,000 words, which is about the same length as one of my longer film reviews!)


    Right now who knows what next week will bring, never mind next month? Though if things carry on as they are (and it looks like the will for a good while yet), perhaps it’ll be a record-breaking month. Or perhaps not. Who knows!

    The Past Month on TV #56

    This TV column is over a week later than I intended it to be, meaning there’s loads to talk about — half a season of Doctor Who; two new ITV dramas; more Picard and Twilight Zone; I finally watched Good Omens, and got back to The Good Place; there’s even the Oscars; plus a bunch of other stuff. It’s an epic — over 5,500 words if you read the whole thing — so let’s crack on…

    Doctor Who  Series 12 Episodes 6-10
    PraxeusMost of the Doctor Who chatter of late revolves around what happened in the finale — no surprise there, given major revelations were teased in previous episodes this series. But before I natter about that, there’s a handful of other episodes to cover.

    After a rocky opening to this 38th run of Doctor Who, with episodes varying wildly in quality, I think it settled down pretty well in the middle. That doesn’t mean it was a classic series by any means, though. Praxeus is a perfect case in point: it’s a solid episode, with a decent storyline, a few nice scenes, a handful of broadly well-drawn characters, and a reasonable amount of important-message delivery. As the second environmentally-themed plot in as many months, it suffers somewhat from the repetition, but how this handles its messaging about plastic pollution vs how Orphan 55 battered us around the head about climate change is a good example of how to do such things fairly well instead of very, very poorly. But there are also a handful of plot holes and character inconsistencies to niggle away at you. It’s as if they didn’t bother to employ script editors or continuity checkers this series — though the oversights are so glaring, anyone should’ve spotted them. So if all of this sounds like damning with faint praise… well, it is. In any other recent era of Who, this would be a middling-to-poor midseason filler; in the current era, it’s one of the better episodes.

    There were more Issues on hand the next week in Can You Hear Me?, to the extent the BBC even put up their Action Line phone number at the end. It’s clear showrunner Chris Chibnall wants to Say Something with at least a couple of episodes every season, but he’s once again clashing with the past: Vincent and the Doctor already did mental health better. In itself, how Can You Hear Me handled the issues it raised was a mixed bag. Yaz’s backstory came out of the blue — it’s not even been vaguely alluded to before, and how it’s depicted in the episode left a lot up in the air. The consensus on social media is we were meant to think she was intending to commit suicide, but the episode soft-balls this in order to avoid triggering terms or visuals — a commendable aim, especially in a family drama, but it left the point entirely unclear. And the end of the episode, where the Doctor seems dismissive of Graham trying to open up about his cancer, drew actual complaints and the BBC having to issue a statement. If you have to explain the intent of your drama in a statement released afterwards… well. But ‘Issues’ aside, as a sci-fi adventure it was another solid attempt.

    The Haunting of Villa DiodatiAll of which means that the series’ penultimate story, The Haunting of Villa Diodati, was on a whole ‘nother level. For me, this might be the first genuine classic of this era. (If you’ve not seen it, spoilers ahead.) The first half is like a proper horror movie, complete with jump scares and other creepy effects (the dead-eyed little girl behind the door, but only when the lightning flashes… brr!) Naturally there’s a sci-fi explanation for it all, but even that was thrilling and chilling in its own way. It was the best use of the Cybermen since… er, their last story, because that was really good too. But the Cybermen are sometimes underserved by Who, wheeled out and disregarded as second-tier baddies after the Daleks, so I delight in seeing them used so well more often. Throw in a well-researched and depicted historical atmosphere, some good comedic asides (I thought the butler was superb), and a genuine sense of jeopardy (the Doctor stuck between a rock and a hard place with the decisions she has to make, and the lone Cyberman a towering presence), and you’ve got an all-round great episode.

    Which leads us to the two-part finale. The first half, Ascension of the Cybermen, went down well with many, but I thought it was no great shakes. Like most episodes this seasons, it was solid mid-range Who, which ticks certain boxes whilst never in any way excelling. As epic finales go, seven humans vs three Cybermen is hardly a grand setup. And why do three Cybermen require two (quite large) spaceships, anyway? Was one full of those Cyberdrones — which looked thoroughly daft, so maybe they should’ve left that ship at home. The rest of the plot is a lot of faffing about to get us to the real point: the cliffhanger. Only, it’s not much of a cliffhanger, because it’s just the Master popping back up (which was inevitable) to say “now I’m going to tell you that thing I wouldn’t tell you earlier!” Wow. J.J. Abrams, you have a lot to answer for.

    The Timeless ChildrenSo the real point of it all comes in The Timeless Children, where the Masters finds some new sources to rewrite the Doctor’s Wikipedia entry, then reads that revised version to her. I’m only half joking. Chibnall has managed to rewrite Doctor Who mythology in a way that both angers fans with its radical changes, and fundamentally makes no difference whatsoever. The Doctor used to be a mysterious alien from another planet who travelled the universe helping people. Now, she’s a mystery alien from another dimension who travels the universe helping people. Instead of being “just another Time Lord” who rejected the rules of their society and ran away to interfere, the Doctor is now a Special / Chosen One — the originator of the Time Lords’ ability to regenerate; her DNA copied and pasted into every other Time Lord… and then her memory wiped, so she grew up as just another Time Lord who rejected the rules of their society and ran away to interfere… but, y’know, was secretly special. I feel I should hate it, but, honestly, it was so guessable and so fundamentally immaterial that I just can’t muster the energy to care enough to hate it. It may yet go the way of “half-human” anyway, i.e. we’ll all just ignore and/or rewrite it as soon as someone other than Chibnall gets in charge.

    As for the story of the episode itself — because it did kind of have one, away from the Doctor getting that massive info dump — it was, predictably, an adequate middle-of-the-road knockabout, with an underwhelming finale. When someone on Twitter can knock up an infinitely better resolution in comic strip form within hours of the episode ending (which is exactly what this is), you’re once again left questioning he actual ability of the current showrunner. They can’t even do a very good copy of a Russell T Davies-style cliffhanger/Xmas special tease. The Judoon imprison the Doctor… as a tease for a special starring the Daleks? “What?!” indeed.

    Star Trek: Picard  Season 1 Episodes 2-3
    Picard: engagingI’m a good few episodes behind on Picard now (episode 7 arrived this week), which is not because I’ve given up on it, but because it hasn’t engaged me quite enough to especially make time for it. It seems to have garnered quite the mixed reaction: the critics’ scores on Rotten Tomatoes are very strong; the user ratings on IMDb aren’t bad at all; but every time I see someone write about the show, on Twitter or another blog or what have you, it seems to be in criticism. I fall in between all these stools. There are things the show is doing well, or at least passably, but other bits that are awful; that feel like the worst of cheap made-for-syndication ’90s sci-fi, rather than the peak TV ‘prestige series’ it clearly wants to be.

    I read one of the execs or writers or someone say that they consider the first three episodes to be their pilot, and that’s indicative of one of the show’s major problems. It’s not unique in that regard — it’s an attitude that’s become ubiquitous in this “we’ve really made an X-hour movie” era of TV making. Netflix series get away with it a bit because of their all-at-once model — if the makers say “the first three episodes are the pilot”, you can find two or three hours to sit down and watch all three as your first chunk. But Picard is coming out the old fashioned way, i.e. weekly, and so it takes three weeks to get through what should be the first hour or so. Even within the episodes, it’s paced like treacle. I don’t necessarily expect them to get through all the necessary setup in just 45 minutes — because it does establish a fair bit across these three episodes — but the same material in a double-length opener, instead of spread thin across three weeks? I think that would’ve been fine. Plenty of shows before now have had double-length pilot episodes — including, pertinently, TNG.

    I’m currently wondering if Patrick Stewart regrets signing up to this. It took a lot to lure him back, and presumably it was the general shape of what they were aiming to do (rather than the specific qualities of the individual scripts) that got him there. And he’s committed to multiple seasons too, with a second already commissioned and strong rumours of at least a third. Perhaps the grand plan will become clearer as things go on. Or perhaps it is just another paced-for-streaming modern TV show, which obviously works for some people.

    Flesh and Blood  Series 1
    Flesh and BloodBetween its short length (four parts), quality cast (Imelda Staunton, Stephen Rea, Russell Tovey), and condensed broadcast schedule (it was on four consecutive nights), this looked like a miniseries… until a last-second cliffhanger (plus some dangling plot threads) suggested there’ll be more to come. I watched it on that back of that cast and some strong reviews, which it only somewhat merited. It’s a decent family drama, about a 60-something widow getting into a relationship with a man her three grown-up children think might be conning her, with the added spice of a friendly/nosey next-door neighbour who might be a proper weirdo herself; but decent is about the extent of it — the cast elevate the material, which is fine but didn’t excite me otherwise. I expect I’ll keep watching if it comes back.

    McDonald & Dodds  Series 1 Episode 1
    McDonald & DoddsNormally I’d give a new ITV crime drama a miss, but this one is set and filmed in Bath (they got in my way one day by filming in the park I wanted to sit in for lunch, the bastards), so I had to see. It was… adequate. It’s about a hot-shot London detective who relocates to Bath, and lines like “that may be how things are done in London, but you’re in Bath now” were repeated to the point of absurdity. And don’t get me started on the accents (one local review derided the programme for thinking we all speak like Hobbits). Yet, inexplicably, it seems to have gone down quite well with viewers, which just goes to show you can’t trust the general public to judge anything. It’s only two episodes, so I’ll watch the second (if only to see what other recognisable locations they trot out — it makes a real point of showing off where it was filmed), but that might be my limit.

    Good Omens
    Good OmensThis six-part adaptation of the beloved fantasy novel by Terry Pratchett and Neil Gaiman debuted on Amazon last May, and by rights I should’ve been all over it from day one — I read the book as a kid, and loved it enough that I used to cite it as my favourite novel (the only thing that changed that was the fact it’s been decades since I last read it). But, as regular readers will know, life has got in the way of my viewing choices over the past year or so, and it was in fact that level of attachment that stopped me watching it — it needed my full attention. Obviously, that time has come.

    The downside of all the waiting is that I perhaps built up expectations the series couldn’t hope to match. To say it was a disappointment would be going too far, but it didn’t blow me away in the manner the book did when I was ten-ish. It couldn’t, shouldn’t have been expected to, really. But there’s an awful lot to like here. In the lead roles of an angel and demon, respectively, Michael Sheen and David Tennant are fantastic, both individually and as a double act. There is much quirkiness and craziness to revel in, and while it’s not often laugh-out-loud funny, it regularly tickles your amusement centres with its absurdity. There are some bravura touches as well, like the 30-minute pre-titles to episode three. On the downside, at six hours it seems a little long, and there’s way too much voiceover narration — Gaiman’s true calling as a novelist rather than screenwriter showing through, I feel.

    Maybe it’s a case of “the book is better” (as I say, I haven’t read it for yonks), but there’s still an awful lot to like about the adaptation. Those without a preexisting attachment to the novel may get more out of it than I did thanks to not bringing baggage. Personally speaking, someday I’ll watch it again, and hopefully having watched it once will mean it’s less weighed down by my expectations and I’ll enjoy it even more.

    The Good Place  Season 3
    The Good Place season 3“Holy fork,” I said to myself when I saw that the series finale of this had aired at the end of January — I’d forgotten how much time had passed since I last watched it. If you’ve still not seen any of the show yourself, look away now — it’s the kind of series you want to experience knowing as little as possible, and if you read about later seasons before you’ve seen earlier ones it’s just gonna ruin stuff. (I know that sounds self-evident, but it applies to some shows more than others, and this is very much one it applies to.)

    So, the third season picks up where the second left off (duh), with the gang back in their lives on Earth trying to prove they’re good people at heart. As I found with season two (which also started with a new status quo), these early episodes are okay — during this phase I like the show, but I don’t necessarily love it; I feel “it’s not as good as it used to be”, but it still entertains me, even while it seems to tread water a bit. But then, halfway-or-so through, the plot kicks into gear, and the season’s second half is a run to the finish line through an array of surprising and hilarious situations. The “back on Earth” premise robs something special from the show, I think — it’s only once they’re on course back into the afterlife that things pick up. Not that the early part of the seasons is a washout — like most of the best sitcoms, the joy is more in the characters than the exact situation they’re in, and the characters are still around — but something didn’t quite work for me (as I said, it’s not bad, just less good), and it’s only once they’re getting stuck back into the fantastical side of things that it really comes to life. It all builds to a finale that hits a surprisingly emotional note. And, knowing the next season is the final one, I’m looking forward to seeing where this crazy journey is going to end up.

    Lucifer  Season 3 Episodes 16-24
    Lucifer season 3So, I’ve finally caught up on the Fox years of Lucifer — it was here that its original network cancelled the show (Netflix picked it up for a fourth season, recommissioned it for a fifth and supposedly final season, added more episodes to that fifth season, and now are reportedly lining up a sixth season too). I can see why fans were particularly enraged — the season ends on a massive change of circumstance that would’ve been a terrible place to leave it forever. Indeed, the most intriguing thing here is where it will go next, especially given the network change: Lucifer is an old-fashioned network procedural, as much concerned with case-of-the-week crime stories as it is with arc plots and the supernatural goings-on of its angels-and-demons universe; and that was to be expected when it was on an old-fashioned network, but now that it’s on Netflix, the home of bingeing, will it shift its emphasis?

    That’s a question for next season, anyway. As for season three, it suffered a different fault familiar from network series of old: struggling to pace an arc plot across a mammoth 24 episodes. It actually went rather well at first (even if certain revelations were glaringly obvious), but by this final stretch it’s spinning its wheels a bit, trying to delay the finale-sized events for, well, the finale. I mean, one minute Chloe and Pierce are on course to get married, then he’s calling it off, then it’s back on, then she’s calling it off… pinging back and forth, one episode to the next; swinging from one major-life-choice extreme to the other from week to week. That’s something else the more concentrated Netflix runs (season four is ten episodes, season five will be two halves of eight each) will hopefully improve upon.

    The Twilight Zone  ‘Best Of’
    The DummyJordan Peele’s new version of The Twilight Zone belatedly made it to UK screens a week or two back, almost 11 months after its US airing. I still haven’t watched any of it, but I am still going with cherrypicking the best of the original series.

    I started my exploration of The Twilight Zone by watching the top ten episodes according to a couple of different websites. After that, I found more lists to create an average ranking (see last month), but I didn’t complete those new lists’ top tens — so that’s what I’ve done for this month’s selection. There were four new lists and, interestingly, all but one of their top tens contain episodes I hadn’t seen — you’d think that, between completing three top tens and a consensus ranking up to #16, I’d’ve seen every top-ten-worthy episode. That’s where personal preferences come in, of course, but it also shows how many great episodes of The Twilight Zone there are. Across the seven top tens there are 29 different episodes, and the only two that are included in every one are The Monsters Are Due on Maple Street and Time Enough at Last. 15 episodes appear on just one list, including all six I’m reviewing today.

    Anyway, enough of my statistics preoccupation — some episodes! The highest ranked among these is The Dummy, which is #2 on Buzzfeed’s list. It’s about a ventriloquist who thinks his dummy is talking to him — is it, or is it his inner demons? A sentient ventriloquist’s dummy is a none-more-creepy idea, and the episode does an interesting line in “is it real or is it in his head?”, but it didn’t quite come together in a satisfying enough way for me. Sure, there’s a somewhat chilling final beat, but I didn’t feel like the rest of the story quite got there, more jumped to it. The second best episode of the entire show? Not even close. Though it does have one of host Rod Serling’s coolest on-screen intros.

    Next up is also from Buzzfeed: their 6th place choice, Long Distance Call. Five-year-old Billy loves his grandma, and she loves him, somewhat to the chagrin of his mother. But then grandma dies, her parting wish that Billy could come with her. He starts to spend a lot of time playing with a toy telephone she gave him… and who’s he talking to? Grandma, of course. It seems like it’s just a child’s way of dealing with grief… until Billy runs in front of a car, saying someone told him to do it. It’s a strong idea for an episode, with some neat developments along the way, but it feels in need of a closing act — a final plot beat to resolve Billy and his telephone. We can extrapolate one from what happens (spoiler: by the end, grandma isn’t on the line any more), but it would be nice to see Billy realise this. And it would be effectively Twilight Zone-y as well, helping to underscore the magical realism with a final question: has Billy finished grieving and is ready to move on, or were the father’s pleas answered and grandma stopped calling? Add that final scene and this would probably be one of my most favourite episodes. As it is, it’s a very strong almost-but-not-quite.

    The Big Tall WishMoving on to TV Guide’s 50 Essential Episodes now for three picks. First, their #4, The Big Tall Wish. It’s a significant episode in the history of television because it features a nearly all-black cast in a story that isn’t predicated on their race; consequently, it was awarded the Unity Award for Outstanding Contributions to Better Race Relations. Critics rank this one fairly well — it’s also 18th on Screen Crush, 32nd on Paste, and 33rd on Buzzfeed — but on audience-ranked lists it’s much lower: 127th on IMDb; 119th on Ranker. The racism of audience rankings, so regularly visible on new releases, truly knows no bounds. Anyway, it’s about a beat-up ageing boxer hoping for one last shot at glory, and the young kid who believes in him — and who also believes his wishes come true, so he uses one to help the boxer win his fight. I really liked the setup, which plays as thoughtful and groundedly dramatic, with the suggestion of magical realism as opposed to outright fantasy. It’s well directed by Ronald Winston (one of three contributions he made to the series, including The Monsters Are Due on Maple Street), from an interesting use of a mirror in the opening, which helps to enliven what would otherwise just be a scene of two people chatting, to a striking way of visualising the fight sequence. At first I was unimpressed about where the episode eventually goes story-wise, but after a bit of thought I’ve come round to it more. It is, of course, metaphorical, rather than merely following some made-up rules of magic, and therefore has something to say about belief.

    Right after that in 5th is Deaths-Head Revisited, the story of a former Nazi captain going for a nice little holiday to Dachau, where a nostalgic wander around the old concentration camp turns into something he didn’t anticipate. It’s easy to forget nowadays, but this was made just 17 years after the end of the war. That sounds like quite a long time, but it isn’t really — it’s like something now relating to events from 2003. In fact, just look to a recent cinema release: that exact period of time gets you from Bad Boys II to Bad Boys for Life. I know that’s an insanely trivial comparison, but hopefully it makes my point: 17 years can be no time at all. Indeed, on the audio commentary by author and TZ expert Marc Scott Zicree and his mate Neil Gaiman (yes, that Neil Gaiman), they note how contemporary this issue was at the time: Judgment at Nuremberg had just been in cinemas; Eichmann had been tried but not yet sentenced. And this bit of trivia from IMDb: “due to religiously-inspired antisemitism that existed in the US at the time, none of the prisoners are shown wearing the yellow Star of David, which the Nazis made Jewish prisoners wear at Dachau.” Just 17 years after the Holocaust, and antisemitism was that present again. Chilling, isn’t it? And, today, we have our own problems with the resurgence of the Far Right, rendering these kinds of stories timely once again. This is as strong an example as any. As Gaiman says on the commentary, “it has real content. It’s something that leaves you with an emotion. It leaves you feeling something. It leaves you thinking.” Gaiman rationalises the events of the episode as being that “on some deep level he [the Nazi] had enough of a soul that he went back to the place of his crimes, realised what he’d done, and went mad.” Perhaps, but I think it’s more about the Nazis’ unending hubris: he thinks he can revisit the camp with impunity, to revel in the glorious memory of his deeds; but instead he is punished, and he’s not been hunted down for this punishment — it only happens because he has the gall to return.

    Twenty TwoOn a lighter note, in 9th place at TV Guide is Twenty Two. I say “lighter” — the subject matter isn’t as heavy, but this is a creepy episode. It’s about a woman in hospital who has a recurring nightmare about visiting the morgue, but she’s convinced it’s not a nightmare, it’s happening. It’s the enactment of her nightmare that is genuinely creepy (just imagining having to ‘live’ it gives me chills), and the idea of not being sure what’s dreams and what’s reality is a very Twilight Zone concept. Unfortunately, some of the specifics are weak. Whether it’s a nightmare or not would be easy to disprove, considering it includes details like her breaking a glass every night, or that the morgue is room number 22 — if it is, how does she know that? (Her doctor does eventually realise this… after days of hearing about it.) And as there’s nothing else wrong with her, why not discharge her — the nightmare is so location-specific that it couldn’t happen at home. Eventually there’s a twist, and it’s a good’un, pushing the concept somewhere logical (within the bounds of paranormal ‘logic’, anyhow) and retaining the creepiness. (There’s also a question about whether it inspired a much later film series, with which it shares many notable similarities, but to say more would be a whopping spoiler.)

    Another point about Twenty Two is that it’s one of a handful of episodes they shot on video to save money. Well, it may’ve saved some dough, but it looks like crap, even by the standards of video productions — it looks like it was transferred from a VHS copy. Maybe tape was really crummy back then (I swear other ’60s taped productions, like Doctor Who for example, don’t look this bad), or maybe it’s been poorly preserved, or maybe it’s just a shoddy transfer on the Blu-ray. In the end, only half-a-dozen episodes were made this way because they weren’t happy with the results — understandably! Sometimes money isn’t everything. But it’s interesting how much it’s shot like a video production. The shot choices aren’t like a normal film episode but on videotape; instead, it’s got all the kinds of camera moves and slight adjustments and whatnot you almost subconsciously recognise from live / minimally-edited TV. (Incidentally, Long Distance Call is another videotaped episode, but I watched that after this one so had fewer thoughts on the technical presentation.) And yet, the underlying episode is so good that it overcomes the technical limitations. No, the problem is the logic gaps. They may seem minor quibbles, but if they were ironed out it would improve the whole episode. For me, fixing them would make this a 10-out-of-10, but as-is it’s more of an 8.

    A Game of PoolFinally for now, the one outstanding top-ten-er from Thrillist’s ranking — their 8th pick, A Game of Pool. It’s about a pool shark who thinks he’s better than the player everyone else considers to be the greatest, but that guy’s dead so he can’t prove it… except, of course, he’s in the Twilight Zone. Some episodes save their Twilight Zone-ness for midway or final-minute reveals, but others put it front and centre, and this is one of them: a game of pool with a dead man! But it still has one of the show’s trademark ironic twists at the end, to teach us a lesson. That said, I didn’t think it landed as well as some other episodes, because it’s a bit of a fantastical warning rather than a pure morality play. There’s an alternate ending (included on the Blu-ray as both a narrated screenplay and a clip from the ’80s remake, which used that ending instead), which was screenwriter George Clayton Johnson’s original and preferred conclusion, and it’s that alternative conclusion that’s stuck with me more. Of course, the advantage of things like special features is we kind of get to have both versions; we can pick our favourite, or even consider both, like alternate timelines — how very The Twilight Zone.

    The 92nd Academy Awards  and
    The British Academy Film Awards 2020
    The 92nd Academy AwardsOn Twitter in the run-up to the ceremony itself, there was a general acceptance that (a) Parasite was the best picture of the year, and (b) Parasite was not going to win Best Picture. As far as I could see, there was a sort of genial acceptance of these facts, which made a nice change from Film Twitter’s usual condemnation of everything. But then, blow us all down, Parasite did actually win! It’s noteworthy for all sorts of reasons — primarily because it’s the first ever non-English-language film to win Best Picture at the Oscars. It was also only the third time that the Palme d’Or and Oscar have gone to the same film. And director Bong Joon Ho became only the second individual to win four awards at one ceremony (after Walt Disney, and he did it across four different films). As for the rest of the ceremony, most of the other gongs went where expected, leaving 1917 the major victim of Parasite‘s surprise success. But it still took home three well-deserved technical trophies, whereas Netflix’s The Irishman (which had the same number of nominations, ten) was shut out entirely.

    There were even fewer surprises at this year’s BAFTAs. Maybe Klaus winning Best Animated Film, but then the British Academy are always more resistant to the dominance of Disney/Pixar in this category than our American cousins (I think of Kubo deservedly winning a couple of years ago, for example). Of course 1917 won Best Picture — it was the favourite anyway, but it was also British, and that does sometimes sway the local vote. Not so in the acting categories, which went to the expected sources. I thought Graham Norton was a good host, too. He’s a natural fit for this kind of thing, and so while not every line quite landed, his hit rate was much higher than other recent hosts. I hope he returns next year.

    Also watched…
  • Death in Paradise Series 9 Episode 3-8 — The back half of this run introduced a new lead detective (the show’s fourth), played by Ralf Little. His quirk is that the island’s heat / animals / etc cause him all sorts of irritations and rashes. I can relate. Other than that, it’s business as usual for the sunny, silly murder mystery.
  • The Goes Wrong Show Series 1 Episode 6 — A final recommendation for this most excellent comedy, which went out on a high with one of its best episodes: 90 Degrees, which refers to the heatwave occurring during the story, but was “misinterpreted by the set builders” so one of the main sets is on its side. Hilarity ensues. The whole magnificent series is still available on iPlayer, it’s also out on DVD, and a second series has been confirmed. Hurrah!
  • My Dad Wrote a Porno — A one-off HBO comedy special spun off from the popular podcast. I’d vaguely heard of said podcast (I don’t really do podcasts), and apparently it’s very funny, so this seemed worth a punt. And I did enjoy it, overall. I’ve read that it’s not as good as the real thing, though, so maybe I should get onto that.
  • The Rookie Season 1 Episodes 1-6 — I remember being interested in this when it was first announced, because it starred Nathan Fillion (so enjoyable in both Firefly and Castle) and had an interesting-enough premise (middle-aged man joins LAPD as their oldest ever rookie), but then I kind of forgot to keep an eye out for it — it’s on season two now and I’m just getting started. It’s an above average police drama, I’d say, and it’s a nice change that it’s not about detectives solving a murder of the week.

    Things to Catch Up On
    Noughts + CrossesThis month, I have mostly been missing Noughts + Crosses, the BBC’s high-profile adaptation of Malorie Blackman’s beloved alternate-world young adult novels. It seemed to go down very well on Twitter when the first episode aired, and the whole series is already available on iPlayer, so I’ve no excuse not to make time for it next month (other than all those Picards I have to catch up…)

    Next month… Disney+ finally comes to the UK on March 24th, and with it The Baby Yoda Show The Mandalorian. Plus, a different tack in my viewing of both The Twilight Zone and Doctor Who.

  • The Personal History of January 2020

    We’re a whole month in — 2020 is properly underway!

    The less said about yesterday’s biggest news the better, so I’m just gonna plow on into some films…


    #1 Crooked House (2017)
    #2 Evil Under the Sun (1982)
    #3 Rocketman (2019)
    #4 Little Women (2019)
    #5 Dial M for Murder 3D (1954)
    #6 1917 (2019)
    #7 The Dead Don’t Die (2019)
    #8 Dolemite Is My Name (2019)
    #8a What Did Jack Do? (2017)
    #9 Bait (2019)
    #10 Ad Astra (2019)
    #11 (1963)
    #12 Laputa: Castle in the Sky (1986), aka Tenkû no shiro Rapyuta
    Rocketman

    Laputa: Castle in the Sky

    .


    • As should be self-evident, I watched 12 new feature films in January.
    • I watched my first film on New Year’s Day — the first time that’s happened since 2016.
    • I watched my second film on January 2nd — the first time that’s happened since 2012.
    • I watched my third film on January 3rd — the first time that’s ever happened.
    • I watched my fourth film on January 8th — which doesn’t sound as remarkable, but it’s earlier than I watched last year’s #1.
    • By #8, I was ahead of every previous year. By #12, I was ahead of just 54% of them.
    • In terms of averages, 12 slightly beats the January average (previously 11.42, now 11.46), but is slightly behind the average for 2019 (12.6).
    • Dial M for Murder is the first 3D film I’ve watched since last May, eight months ago.
    • This month’s Blindspot film was Federico Fellini’s semi-autobiographical search engine / hashtag nightmare of a title, .
    • From last month’s “failures” I watched just Little Women.



    The 56th Monthly Arbitrary Awards

    Favourite Film of the Month
    I’m always wary of picking the last film I watched as my favourite of the month — I worry it’s just recency bias giving it a boost. And there are certainly other films I liked a lot this month — when I’ve settled on my final ratings, up to 50% of them will be getting full marks. But, eh, it’s just an opinion. So, for now, this month’s victor is a Miyazaki classic (of which there are so many!), Laputa: Castle in the Sky.

    Least Favourite Film of the Month
    This is a very straightforward choice, though. I’d heard only terrible things about The Dead Don’t Die, but the trailer had looked such fun that I went ahead and rented it anyway. Sadly, it was the word of mouth that was accurate — it’s a dud.

    Most Quotable Film of the Month
    You might not expect a black-and-white hand-developed art-house-y drama about the plight of locals in a Cornish fishing village to be full of zingers, but there are loads of such memorable bits in Bait. My favourite? A barmaid watching a local bloke chat up a bit of posh totty from out of town: “He’s wasting his time with her… ‘ow’s she gonna suck his dick with that plum in ‘er mouth?

    Least Hashtag-Friendly Film of the Month
    Continuing the theme of “recycling stuff I already put on Instagram”, you try and come up with a workable hashtag for .

    The Audience Award for Most-Viewed New Post of the Month
    This month’s winner slayed all before it to become, not just my most-read new post, but my most read post overall for last month (that happens quite rarely — just thrice last year, or 25% of the time). The post in question was my Christmas TV review. It received more than double the number of views as the post in second place (which was the previous TV review), a lot of that powered by referrals from IMDb for people wanting to read about Dracula. I hope I switched them on to The Goes Wrong Show while they were here… (The highest new film-related post was my review of The Personal History of David Copperfield.)



    Last year’s Rewatchathon limped to an ignominious end (only just over half of my 50-film goal), but 2020’s is off to a solid start…

    #1 Zatoichi at Large (1972)
    #2 The Hound of the Baskervilles (1939)
    #3 The Adventures of Sherlock Holmes (1939)
    #4 Monty Python’s Life of Brian (1979)
    #5 Twin Peaks (1990), aka Twin Peaks: Pilot

    Starting at the end, Twin Peaks — the original pilot, which I watched in UHD courtesy of the From Z to A box set. I was counting it as a film as part of a long-term setup for eventually including it on a list of my favourite films (oops, given the game away!)… but I feel less sure after watching it again. Not of its greatness — I still reckon it’s one of the very best episodes of TV ever made, with at least one sequence that’s among my favourites in the entire history of visual storytelling — but it’s so obviously a pilot; so made to set wheels in motion for a series to run with them over many more hours. Yeah, there’s the close-ended International Version, but that’s a bit of a mess. This is something I’ll continue to ponder on.

    As for the picture quality of this UHD version, it’s unfortunately a mixed bag. Lynch chose not to use HDR here, apparently… though I don’t know if that’s been confirmed or if it’s accepted wisdom from the disc not playing with HDR. I say that because when I turned Dolby Vision on, it kicked in. So is the disc encoded for Dolby Vision but not normal HDR? Is that possible? Or was my player ‘faking it’? I don’t know enough about how HDR/DV works to answer that. Normally I have Dolby Vision switched off because I don’t like it (I don’t know if I just consider it inaccurate or if it’s my TV’s fault, not displaying it properly for some reason), and Twin Peaks did nothing to convince me I should change that. Mainly it just seemed to make things too dark, erasing detail in the shadows (I tried fiddling with my settings in case I’d set it up poorly, but that didn’t help). With or without DV, the pilot doesn’t look right. The resolution is good, with improved fine detail compared to the Blu-ray, so that’s nice; but the colours look far too pale. Considering classic Twin Peaks is renowned for its warm look, this is especially jarring. Some scenes — outdoor ones, mainly, where the colours are cooler anyway — look just fine, but others look thoroughly wrong. What’s really baffling is that Lynch supposedly supervised this new version, so it should be bang on; but I’m pretty sure he supervised the previous one too, so what’s gone awry? Whenever I next watch the pilot, I’m going to have a difficult choice on my hands: 4K for the base-level image quality, or 1080p for (what I think is) the correct colour balance. Argh!

    As anyone au fait with the news has likely guessed, I watched Life of Brian in honour of Terry Jones. Plus, I’d been meaning to rewatch it ever since I watched Holy Grail last September. Like that film, it’s now down to get the “Guide To” treatment at some point.

    Rather than regurgitate comments about my other rewatches, I’ll point you towards Letterboxd for my thoughts on The Hound of the Baskervilles, The Adventures of Sherlock Holmes, and why I rewatched Zatoichi at Large when there are still several original Zatoichi films I’ve not seen.


    2020 got off to a solid start, but there were still plenty of things I failed to see. On the big screen, I saw most of the stuff I really intended to — I’m happy to leave both Guy Ritchie’s latest, The Gentlemen, and belated trilogy-maker Bad Boys for Life until they reach rental. Speaking of which, I’ve got both Jennifer Kent’s The Nightingale and Danny Boyle’s Yesterday sitting on my Amazon Prime Video account with the days ticking down — definites for next month, those.

    In terms of new disc acquisitions, I watched a few as soon as they landed on my mat, but I went on a bit of a spending spree this month — a mix of new releases, random bargains, and having some vouchers to use up. In the former camp, the BFI’s new Blu-ray of Judgment at Nuremberg rubs shoulders with Arrow’s release of Black Angel, a film noir directed by Roy William “director of 11 Basil Rathbone Sherlock Holmes films” Neill (which was recommended to me almost eight years ago by an esteemed fellow blogger, so it’s about time I got round to it).

    The random bargains pile, meanwhile, is mostly made up of horror: the 101 Films Black Label edition of David Cronenberg’s Rabid; 88 Films’ box set of Hollow Man and Hollow Man II; and an import of Dario Argento’s Dracula 3D, which is meant to be absolutely terrible but, eh, I’m curious (it’s also only available in the UK on DVD or digital, neither of which are 3D, so I got the German one. The extras aren’t English-friendly, but I don’t reckon I’m ever likely to watch an hour-long making-of on this particular film). And in the “I had a voucher” camp, Don’t Look Now in its 4K limited edition form. Frankly, I’d’ve snaffled that up even without the voucher — it’s sold out online and so the price is beginning to rise on eBay and the like, but I happened across a single copy in a branch of HMV, where they were still charging the original price. The voucher comes into play because I wouldn’t even have been looking were it not for having an HMV voucher that expired the next day. So, that was nice.

    And finally, the ever-burgeoning ranks of what’s available on streaming. Headliners this past month include In the Mood for Love cropping up on Prime Video — it’s one of the most acclaimed films of this century, but it never seems to be available in the UK, apart from an old DVD. It’s on my Blindspot list this year too, but I’d already got hold of it by, er, other means for that purpose. Other additions that drew my attention on Prime included Booksmart (particularly as I previously rented it but accidentally let the clock run out), Samuel Fuller’s The Naked Kiss, The Boondock Saints (one of those films I’ve heard of but don’t know much more about), and Jason Statham vehicle Wild Card — it’s been a while since I watched a run-of-the-mill Stath flick, so I feel overdue. Also overdue is a rewatch for Brokeback Mountain, which is also now on Prime here. Back in 2006 I was one of that rare breed who thought Crash was better. I didn’t hate Brokeback, but I didn’t like it much either. So, it’s long overdue that I revisit it and form a new opinion, now that I’m older and wiser.

    Over on Netflix, the biggest hitter is probably Uncut Gems, which is one of this year’s many “should’ve had Oscar noms” films. But that only came out yesterday, so it’s not much of a “failure”… yet. Also catching my eye were Won’t You Be My Neighbor? (not to be confused with A Beautiful Day in the Neighborhood, which is only just reaching UK cinemas) and Zhang Yimou’s Shadow. Plus they now have Phantom Thread, which I personally don’t intend to rewatch in anything less than 4K, but I mention its presence nonetheless because I highly recommend it.


    Ghibli comes to Netflix! Well, not if you’re in North America, but for the rest of us: hooray!

    …although I own Blu-rays of most of the ones I’m interested in seeing, I’ve just not got round to watching them yet, so their presence on Netflix isn’t likely to affect my viewing much at all. Hey-ho.

    The Past Month on TV #55

    It’s SF/F-agogo in this month’s TV update, with new Star Trek, new Doctor Who, old Twilight Zone, and I’ve finally finished His Dark Materials too.

    Doctor Who  Series 12 Episodes 3-5
    Doctor Who series 12Well, it certainly has been an eventful first half to this series of Doctor Who! Never mind bringing back the Master and destroying Gallifrey (again) in the opening two-parter — showrunner Chris Chibnall has much bigger continuity-bothering ideas on his mind. But before that, two standalone episodes.

    The first, Orphan 55, is currently the worst-rated episode of modern Who according to IMDb voters, with a score almost as low as the much-maligned Game of Thrones finale. But whereas I defended that episode, unfortunately I have no love for Orphan 55. I know a lot of people’s issue with it is that it’s a bit of a climate change polemic — some people just hate Who engaging with contemporary ‘political’ issues. Sorry, but it’s been doing that since at least the Pertwee era. It’s normally a mite more subtle than this, though. I mean, The Happiness Patrol is a blatant analogy for Thatcher, but at least it’s an analogy. So Orphan 55’s problem isn’t the content, it’s the delivery: an on-the-nose lecture, practically delivered straight to camera, stapled on the end like an afterthought. But it doesn’t exactly ruin the episode, because the rest of it isn’t much cop either: a logically-dubious runaround with a shopworn twist (one that Doctor Who itself has done before, in fact). But is it actually worse than previous “most despised” editions, like Fear Her and Sleep No More? Um, actually, I think it might be.

    Thankfully, the week after things swung back in the right direction. In previous years Nikola Tesla’s Night of Terror would probably have been regarded as a solid midseason bit of fun, but in the current era it virtually amounts to a classic. There were undeniable overtones of the Racnoss in the creature design, and Vincent and the Doctor in its depiction of an unappreciated-in-his-time historical genius (I half expected them to take Tesla into the future to show him there was a car named after him), but plenty of Who is like other parts of Who (it is 57 years and 879 episodes old, after all, not to mention the uncountable spinoff novels, audio dramas, comic strips, etc). All in all, it was fun enough.

    But the real belter was the most recent episode, Fugitive of the Judoon. It’s most impressive as a bit of show-running stagecraft: foregrounding a popular returning monster in the title and publicity (the Judoon, obv) in order to hide the long-awaited return of a popular character (Captain Jack), which was a big surprise that in itself is designed to distract you from the real twist: another incarnation of the Doctor, played by Jo Martin.The two Doctors Social media and fan forums and whatnot have debated and analysed that revelation to death, so I won’t bother digging too much into all the possibilities of what it means — only time can tell. I will stake out this opinion, though: I am not a fan of the theory that she’s a pre-Hartnell version of the Doctor. The idea there were incarnations before the one we know as the first has always seemed disrespectful to me, somehow. Yeah, the Daleks ‘made’ Doctor Who, but Hartnell gave it his all too — without him week to week, and the effort he put into public appearances and the like, would the series have survived those early years? He’s not the only thing responsible for its success, and certainly not for its longevity, but he was The First — leave that be, thanks.

    But, as I say, we’ll find out in time. More interesting to me, for now, is how showrunner Chris Chibnall is going about his job nowadays. Comparing his two seasons so far, Chibnall’s attitude to reusing stuff from Who’s past seems to be — very literally — all or nothing. Last season, he made a point of not using any continuity — no returning characters or villains, no significant references to the Doctor’s past or previous adventures. This season, he seems to be using all the continuity. I can’t remember a Doctor Who story so loaded with references to not-recent previous adventures as this one. Even the Chameleon Arch gets an outing, a thing that mattered in two stories that aired 13 years ago. It feels like Chibnall is an RTD-era fanboy revelling in bringing back stuff from a time when the show was at its peak of popularity. Maybe that’s what it needs right now. Though, in a broader sense, I feel like last season was Chibnall trying to copy RTD-in-2005 (fresh! new! start watching here!), while this time he’s doing his best to be Moffat-in-2011 (complicated mysteries! revisionist continuity! wibbly-wobbly timey-wimey explanations!)

    Whether these additions to the mythology are interesting and productive, or whether it’ll be like “half-human” and fans ignore it ASAP, will depend on what’s to come. Either way, it’s the most exciting the show’s been in a good few years, and that’s something in itself.

    Star Trek: Picard  Season 1 Episode 1
    Star Trek: Picard season 1The Star Trek series boldly goes where it’s never gone before: into the Prestige TV market. (Despite initial appearances, based on things like the reviews I’ve read and variably-sized season orders, I’m not sure Discovery was really “prestige TV” in the end.) Is it up to competing with the big boys of this peak TV era?

    Well, after just the first episode, I’m going to hang fire on answering that — on the evidence of this one instalment, it could go either way. It can certainly walk the walk: it looks very nice, with plenty of lush cinematography and expensive visuals (both globe-hopping locations and swish CGI), and it certainly wants to appear weighty, with themes of ageing and decay (not only of people but also institutions). But can it talk the talk? Does it actually have things to say beyond “Picard is old now, and Starfleet’s a bit shit”? Once upon a time I’d’ve said the fact it’s heavily (heavily) embedded in existing Trek continuity was a barrier, both to entry (“only fans will know enough to follow the plot”) and quality (“it’s so busy looking to the past it doesn’t do anything new”) and acclaim (“I’m not a Trekkie so I didn’t care”) — but that’s not necessarily the case anymore, as HBO’s Watchmen only just proved: you can reuse and remix and lean hard on previous texts, and still produce a high-quality work. That said, while Picard does invest energy in making sure newbies have all the continuity stuff explained, I feel like the show already shows signs of wavering towards Trek’s usual habits, for good or ill. But there’s an interesting enough set of mysteries just getting underway, and it’s always great to see Patrick Stewart, so I remain optimistic it’s going to go somewhere good.

    His Dark Materials  Series 1
    His Dark Materials series 1I reviewed the first three episodes of His Dark Materials in my previous regular update, just over a month ago, but I’d actually watched them much earlier, so when I returned to the series in the new year I decided to restart from the beginning. That improved my opinion of them considerably, I must say, but then a second viewing always has the ability to help clarify things you were unclear of before. Still, I got much more invested this time, and was swept along for the ride and the mysteries the show unfurled. Like the two series I’ve reviewed above, there’s plenty of mystery and intrigue here — some of it answered, much of it left hanging for future seasons (there’s two whole books to come, intended to be adapted across four more seasons). But even in this first salvo, events and characters move in interesting directions. It’s a very dark show at times, especially for something adapted from what are ostensibly children’s books, but that at least creates a genuine sense of jeopardy and unpredictability. So too the way it handles its characters — there’s not just simplistic twists of “hero turns out to be villain” or vice versa, but definite shades of grey. With the promise of whole new worlds to come, I’m definitely excited to see what’s next.

    Also, I bloody love the theme music now.

    The Twilight Zone  ‘Best Of’
    The Midnight SunIt’s been six months since I did one of my “best of The Twilight Zone” roundups, but I always intended to continue them, so here we are again.

    Having already reviewed the top ten episodes as ranked by several different sources (IMDb voters, ScreenCrush, and Paste), I decided to resume my journey through the original Twilight Zone by producing an average of various different lists to identify which instalments are acclaimed by consensus (because that’s the kind of thing I do). To help broaden the range of opinions, I added a bunch of new lists to my calculations — namely, Ranker’s The Best Twilight Zone Episodes of All Time as sorted by voters; Buzzfeed’s Ranking Every Episode by Arianna Rebolini; TV Guide’s 50 Essential Episodes Ranked by Joal Ryan: and Thrillist’s The 50 Best Episodes by Scott Beggs.

    This new average ranking gave me a fresh top ten with a couple of episodes I’d not seen. The first of those was in 9th place (also, for what it’s worth, it’s now in IMDb’s top ten too, having moved up from 11th to 8th since I last looked). That’s The Masks, which I think is one of the series’ best-paced episodes. I’ve found that even some of the greatest episodes can feel a little thin, with a singular concept that only just fills 25 minutes, but this one doesn’t overstay its welcome by a second — and yet it’s as simple and clear a concept as any. That’s perhaps when TZ is at its best: simple but effective concepts, cleanly executed. And there’s a moral lesson too, of course.

    I was slightly less impressed by The After Hours, which finishes off the consensus top ten. It’s an effectively creepy edition for the most part, with some genuine scares, but for me it was slightly undermined by the final explanation, which I don’t think quite hangs together with what’s gone before. A definite case of “it’s about the journey not the destination”, then, because up ’til that point it’s superb.

    Number 12 Looks Just Like YouMoving beyond the top ten to complete the top 10% (i.e. the 16 best episodes), next is Number 12 Looks Just Like You (which, by-the-by, comes 10th on Thrillist). This is what some people might call “proper sci-fi” — an idea of the future spun out of what’s possible in the present, using it to present an analogy for the times we live in. And what is the analogy? In this case, there’s a few things you can read into it: mental health; conformism; the transition from childhood to adulthood; maybe all of the above; maybe something else. The only real downside is the episode hints at a wider world that isn’t explored. It’s mentioned in passing that the writing of Shakespeare, Keats, and others has been banned. Why? By whom? And while a bunch of middle-class white people are choosing which generic model they want to look like, what about other races? Class is less of an immediate issue because it seems this is a government-backed thing that everyone must undergo — but then, why do the lower classes get to look just the same as their ‘betters’? Surely there’d be different models depending on your social station? Never mind a 25-minute episode, someone could spin an entire series out of this… Still, having so much to ponder is one mark of a very good episode.

    The Midnight Sun is the penultimate episode in the top 16, and also is another one that’s 10th on one list, this time Ranker’s. I’d probably put it even higher — this is definitely one of my favourite episodes so far. It takes a massive world-altering event and shows it to us from the point of view of two ordinary women; and not even from when the event happens or is discovered, but from a month into the new status quo, when it’s become a fact of life rather than some revelation. It’s a different way to approach such a story even today, and it works all the more for it. And, of course, there’s a twist (spoiler to come!) — one of the very, very few times “it was just a dream” works.

    Robert Redford invites you to The Twilight ZoneFinally for now, the last episode in the top 16 (and the only one of today’s episodes not in anyone’s top ten), Nothing in the Dark. Probably best known for staring a young Robert Redford, it’s about an old woman who’s paranoid and agoraphobic due to her fear of meeting Death; but when Redford’s cop is shot right outside her door, she has to let him in to save his life. It’s a nice idea for a story, but (to loop back to what I was saying about The Masks) it feels a little slight in the execution. Half of the second act is taken up in a diversion with a demolition guy which is just that, a diversion. Still, there are very good performances from the two leads, and it comes with a well-meant little message by the end.

    Also watched…
  • The Goes Wrong Show Series 1 Episodes 3-5 — I love this show with all my heart. Episode 3 was perhaps the best yet (even the title, A Trial to Watch, is a gag). So this is a friendly reminder that the series so far is available on iPlayer and the sixth (and final, *sob*) episode is on tonight.
  • The Great British Bake Off Series 1 Episodes 1-3 — I joined Bake Off before it was an all-encompassing phenomenon, with series two. So I’ve always meant to go back and see the one season I’d missed, especially since the whole lot became available on Netflix. It’s funny watching it now, though, because so much of it is familiar as Bake Off, but it’s early days and it’s unrefined. It’s a bit like watching a version of the show made by someone who pretty much remembers how it works but not exactly.
  • Star Trek: The Next Generation — I’ve never seen all of TNG (far from it), so as Picard is expected to be heavily indebted to existing continuity, I sought out a few likely-to-be-relevant episodes. The first was season 5 episode 23, I Borg, which is regarded as one of the series’ very best, and deservedly so. The other was the season 6 finale / season 7 premiere, a two-parter called Descent, which I guess was decent. There’s some good stuff in the first half about Data dealing with the possibility of experiencing emotion, but the second half is a bit too pulpy in a way I’m not sure fits Trek (or at least my idea of it). If any Trekkies reading this have other episodes they’d recommend (for relevance to Picard, not just because they’re good), I’m open to suggestions.
  • Twin Peaks in UHD — The recently-released Twin Peaks: From Z to A box set includes a bonus disc with two episodes in 4K Ultra HD. Yeah, just two. Why they didn’t do the full series, who knows. Expense, I guess. Some people reckon this is testing the waters for a full-series UHD release, but I dunno — considering they’ve already released the whole series on individual season DVDs, then a complete box set DVD, then Blu-ray, now a collector’s edition Blu-ray, do they think they’ll manage to sell it to people again? Sure, there’ll be some customers, but enough? Anyway, the two episodes here are the original pilot and season 3 / A Limited Event Series / The Return (whatever you want to call it) Part 8. The latter looked pretty great, even without HDR enhancement; the former… I’m counting as a movie, so will write about in January’s Rewatchathon segment.

    Things to Catch Up On
    Good OmensThis month, I have mostly been missing Good Omens… again! I didn’t get round to it on Prime Video when it premiered last May, and now it’s airing weekly on BBC Two but I still haven’t started it. I read the book as a kid and absolutely loved it (for a very long time I would’ve said it was my favourite novel), so when they announced a miniseries adaptation I was excited — especially as it was being managed by Neil Gaiman himself and starred a bunch of my favourite actors, not least Michael Sheen and David Tennant in the lead roles. That’s almost the problem: I want to watch it properly; I can’t just bung it on. Maybe I’ll get to it before next month’s column.

    Also missed: The Trial of Christine Keeler (I hear it got pretty good, but only after a couple of episodes); White House Farm (I’m interested in the case, but apparently the series is overly slow and long-winded); Deadwater Fell (David Tennant again); and probably a tonne of other stuff that’s slipped my mind for the moment…

    Next month… more Doctor Who, more Picard, more Twilight Zone. As for new stuff, Locke & Key finally makes it to the screen via Netflix… but that’s about all I can foresee for now. Maybe I will finally do Good Omens

    P.S. If you’re an attentive regular reader who’s thinking, “hold on, did I miss #53 and #54?”, the answer is no, you didn’t — the mistake is mine. A whole year ago, I forgot to count the 2018 Christmas post towards the numbering, which is the way I’d previously done things, so I am belatedly correcting for it by ‘hiding’ the jump alongside the one for 2019’s Christmas post. If you think that’s terribly confusing, just remember: it doesn’t really matter anyway.

  • The Past Christmas on TV

    Continuing the spirit of publishing things about ten days late, here’s my Christmas TV review, about ten days after the season ended. (And if you’re thinking, “um, Christmas was 18 days ago,” well, the TV ‘Christmas’ season goes on until at least January 1st here, so there.)

    Santa Goes Wrong
    Here’s Santa to rekindle your festive spirit.
    With alcohol.

    This is now my fourth annual Christmas TV post, would you believe. I still feel like TV reviews are a fairly recent addition to this blog, but nope, it’s been four years. And this is, in a way, a vintage year, what with the Gavin & Stacey revival becoming the most-watched Christmas Day broadcast in something like 17 years; and, even more impressively, it was the only scripted programme to make the top ten TV broadcasts of the decade (the rest going to sporting events and one random episode of The X Factor).

    As for whether it was any good, and what I thought of other stuff that was on… well, read on…

    Doctor Who  Spyfall
    Doctor Who: SpyfallFor the first time in 14 years, since the series returned, there was no Doctor Who Christmas/New Year special. Gasp! At least we got the first episodes of a new series, though — two slightly-longer-than-normal instalments (at 60 minutes each, which doesn’t feel that special when regular episodes are 50 minutes now). And a two-parter, too — the first of those since 2017. And a big two-parter at that, with big-name guest stars and big action sequences and big overseas locations.

    Yep, this is Doctor Who with a bang — a marked contrast to last series, which mostly went for understated. Well, as understated as modern Doctor Who gets, anyway. But whereas series 11 had no two parters and no returning monsters and, as I say, a markedly calmer pace and tone, series 12 begins with the antithesis of all of that. In case you’ve not seen it I shan’t spoil the end-of-part-one reveal, which was a massive delight that I did not see coming (I guess someone learnt a lesson from last time that villain returned, when the production team basically spoiled it themselves before anyone else could). That was the highlight of an episode that moved at a mile a minute, not pausing to let you consider the logic of what was going on (which, yeah, was not faultless). But while it may not have been perfect, I’m glad to see a return for this fun, exciting version of the show. I didn’t find series 11 a total washout (I think my reviews as it was airing were mostly positive, even), but overall I felt like something wasn’t quite working.

    Well, let’s be honest, what wasn’t working is showrunner Chris Chibnall. His episodes under previous showrunners Russell T Davies and Steven Moffat were never the very best (and I say that as someone who likes them more than most), but without their oversight to guide him, he seemed a bit lost. He’s a long-time fanboy of the show (somewhat famously, he appeared on a viewer feedback show in the ’80s to slag off the quality of the writing), and at times last series it felt like he was writing for the show as he’d loved it as a kid (that is to say, a bit slow-paced and old-fashioned). Now, possibly taking some of the criticism on board (or possibly just trying to mix it up), he’s attempting to emulate the whoosh-bang blockbuster-but-quirky style of RTD and Moffat. What he can’t grasp is their effortless-seeming slickness — when they rushed over something it was usually because “it makes sense if you think about it”, whereas Chibnall is trying to cover a logic gap; conversely, when there’s no gap to be hidden, he has characters mercilessly over-explain everything, I guess for the sake of anyone who’s just walked in.

    So, not perfect, but I thought Part 1 was a blast nonetheless. Sadly, I was much less enamoured with Part 2 — a virtually nonsensical runaround through time, which didn’t seem to know what to do with everything that had been put in play, just throwing “more” at us until the Doctor basically said “time for the story to end now”, and so the baddies disappeared and that was that. Apart from an epilogue, which was quite intriguing — and dove head first into full-on mythology territory, something the series studiously avoided last year. Whether Chibnall’s got anywhere good to go with what he’s teasing, God only knows (I fear not, based on the evidence), but it’s a welcome bit of business that will hopefully jazz up the season to come.

    Gavin & Stacey  A Special Christmas
    Gavin & Stacey: A Special ChristmasI won’t recap Gavin & Stacey’s ratings success (what with already having mentioned it at the start), nor will I touch on the controversy around its use of Fairytale of New York (I kind of get why people complained, but also, the song is the song). As for the episode itself, well, I thought it was masterful. It may be nine years since the last episode, but it was like they hadn’t been away. Not that they tried to ignore the passage of time — clearly, the best part of a decade had passed in the characters’ lives, and naturally changes had come with that — but the characters and performances felt true to their old selves, as if they’d never stopped playing them, with the rhythms and comedic style of the show fully intact. Some decade-later revivals feel like new shows — the writers have forgotten how to write it properly; the cast have forgotten how to play it right — but not this one. This was bang on what it should be. Tidy.

    Dracula
    Dracula“From the makers of Sherlock”, declared the publicity for this new adaptation of the Victorian novel — so you’d be forgiven for thinking it was a present-day reimagining. But it wasn’t. Well, until it was.

    This new Dracula is very much a tale of three parts, and not just because it was in three 90-minute episodes. While undoubtedly a serial, each episode was almost a standalone instalment, which was a structural trick I quite liked — it doesn’t feel like you’re watching one four-and-a-half-hour work broken into three by the necessities of the schedule, but rather three separate-but-connected works. And I really, really liked the first two.

    The Rules of the Beast is what you most expect of Dracula: a spooky Transylvanian castle; “I don’t drink… wine”; mild little Englishman Jonathan Harker discovering terrible secrets… Of course, writers Steven Moffat and Mark Gatiss didn’t shy away from bringing a few affectations and twists to the piece, but I thought they all worked well. Claes Bang makes for a fantastic Dracula (a comment that holds true throughout the series), the rest of the cast were very good as well, and there were some proper horror bits — this adaptation was not, ahem, toothless.

    The second instalment, Blood Vessel, dealt with Dracula’s voyage to England aboard the Demeter — a part usually more or less glossed over in other adaptations, as far as I know. But here Moffat and Gatiss spin it out into a full 90-minutes, kind of like a slasher movie set in a confined location, albeit we know whodunnit — so, naturally, there are other twists to be found. Again, I liked this a lot — the way it felt respectful to the source while also expanding and refreshing it; the interesting supporting cast; some very impressive production work (they built the entire ship on a soundstage!)

    Then we get to episode three, The Dark Compass. There’s no way to talk about what happens here without spoiling it, so if you haven’t watched the series yet and are intending to, look away now. If you have watched it, you’ll know this episode jumps the action forward 123 years to 2020. And you also probably hated it, because it seems almost everyone did. My feelings were slightly more nuanced. In my opinion, its biggest mistake is that it’s a completely different show. Sure, we still have Claes Bang playing Dracula (and he’s still excellent), and we still have Moffat and Gatiss’s recognisable stylings in the dialogue and whatnot, but the entire setup has shifted. Judged in isolation, as a present-day-set reworking of the Dracula story as told in the novel, I don’t think it’s that bad. Maybe it’s a tad too cheesy (the scenes in nightclubs and whatnot do have a feel of “how do you do, fellow kids”), but it’s workable as a modern-day adaptation of the character and plot. The problem, as I say, comes from placing it as part of a whole alongside the reenvisioned-but-fundamentally-faithful adaptation we got in the first two episodes. In doing so, Moffat and Gatiss undermine the whole enterprise — it robs the first two-thirds of a fitting finale; and, by being so radically different to the style we’ve spent three hours getting used to, it doesn’t give itself a fair shake either.

    And so many have judged the overall result to be a failure. Personally, I enjoyed enough of it that I was still entertained, but if they’d given us a ‘proper’ third episode to round it out then I think I may’ve loved it.

    The Goes Wrong Show  Series 1 Episodes 1-2
    The Goes Wrong Show - The Pilot (Not the Pilot)Oh my, what a treat! Regular readers will remember how much I loved Peter Pan Goes Wrong at Christmas 2016 (“the best thing that was on TV during the festive season”) and its 2017 followup, A Christmas Carol Goes Wrong. When the gang missed Christmas 2018 I feared we wouldn’t be getting any more, possibly thanks to the negative-nelly reception in some quarters. But oh no, for 2019 they’re back with a vengeance: not a one-off hour, but a whole series of half-hour Plays Gone Wrong. Reader, I am cock-a-hoop with delight!

    The first episode was another Christmas special; the second a historically-inaccurate WW2 thriller (set in 1961); the third aired on Friday but I’m currently saving it. It’s a half-hour parade of utter silliness — slapstick, wordplay, entirely predictable tomfoolery… but sometimes the total predictability of what’s about to go wrong is part of the fun (episode one begins with a blatant setup for a joke that isn’t paid off until the very end of the episode). And it’s exactly the kind of thing the whole family can watch and enjoy, whether you’re 6 or 66. I genuinely can’t remember the last time I was driven to tears of laughter. Actually, I can — it was Peter Pan Goes Wrong. Long live the Cornley Polytechnic Drama Society!

    Also watched…

    A mix of Christmas scheduling and non-Christmas stuff we just happened to catch up on.

  • Criminal: United Kingdom Season 1 — Netflix’s high-concept cop show wasn’t quite as classy as the publicity would have you believe (it still indulged in the old staples of office politics, breaking from the tension of the interrogation to faff around with romance subplots and whatnot), but the guest stars still gave it their all — I don’t think I’ve ever seen Hayley Atwell like that before, and David Tennant was superb as always. Good enough that I’ll check out some of the international versions.
  • In Search of Dracula with Mark Gatiss — This felt like it was planned as a promo for the BBC’s new Dracula, but aired after it. Weird. Anyway, Gatiss has fronted several great documentaries on horror before, and while this wasn’t quite in their league (the others are exceptionally good) it was still a solid and interesting look at the history of the Count. And it made me want to see a load of previous Dracula films, which I always think is the mark of a good movie documentary.
  • Miranda My Such Fun Celebration — I know the sitcom Miranda wasn’t to everyone’s taste, but I loved it, as did lots of others, hence this one-off special to mark its tenth anniversary. It’s a bit of an oddity — a mix of cast reunions, sketches, clip montages, and song and dance. Yes, song and dance. It was well-meaning but, well, I found it a little strange. But for those people whose lives have been positively impacted by the series (and, genuinely, hurrah to it and them for that), I’m sure it was a delight.
  • Vienna Blood Series 1 — A new crime series from “that other guy who wrote some episodes of Sherlock”, this adaptation of a series of novels set in Vienna c.1907 did feel a bit like Sherlock Lite, with its Freud-influenced genius consulting detective and some stylish visuals. But it lacked the innovation that marked out Sherlock, especially in its early days. You can tell this has half an eye on being an easy sell to international markets, able to sit comfortably alongside all the other 90-minute crime dramas the UK TV industry churns out. So, it was a bit predictable and formulaic, but decently done and reasonably entertaining. This Guardian article echoes my feelings on it pretty well.

    Things to Catch Up On
    A Christmas CarolThis month, I have mostly been missing the BBC’s new adaptation of A Christmas Carol, written by Peaky Blinders creator Steven Knight. I know it went down with some degree of controversy, but its revisionist, horror-tinged style looked right up my alley. Unfortunately, it was stripped over three nights, and because I knew I was going to be away for the third evening I didn’t start it. By the point I had enough time to make room for it, it was so long enough after Christmas that I wasn’t sure it was appropriate. Now, it’s January 12th and it’s definitely too late. Guess I’ll have to try to remember to watch it next year, then.

    Next month… it’s a new year, so I’m sure there must be plenty of new TV. Although I kind of hope not, because I’ve still got tonnes and tonnes from last year to catch up on.

  • 2019: The Full List

    Here we are once again, dear readers: another year over, another long list of films.

    The final tally of new feature films I saw in 2019 is 151. Throw in an alternate cut and my Rewatchathon, and the overall total is 181. That’s not a patch on the 311 I got to last year (it’s 42% less, in fact) but it’s not bad in itself. Indeed, getting to #151 makes 2019 my 5th highest year ever, and is higher than anything before 2015 — five years ago, I would’ve considered it a wonder.

    More analysis along those lines when I get to my stats post. For now, here are some nice long lists…


    • As It Happened — 2019’s monthly updates, containing a chronological list.
    • The List — an alphabetical list of every new film I watched in 2019.
    • Television — an alphabetical list of every TV programme I reviewed in 2019.
    • Next Time — there’s more analysis of last year still to come…

    Below is a graphical representation of my 2019 viewing, month by month. Each image links to the relevant monthly review, with a chronologically numbered list of everything I watched this year. There’s other exciting stuff in there too, like my monthly Arbie awards and what I watched in my Rewatchathon.

    The main thing you can interpret from these is how much the number of films I was watching dropped and fluctuated in the second half of the year…












    And now, the main event…


    An alphabetical list of all the new-to-me films I watched in 2019, followed by the sundries I also watched (alternate cuts, shorts, etc). Where I’ve already reviewed a film, there’s a link. In the past, not-yet-reviewed titles linked to my “coming soon” page, but as there are so many of those now I decided they’d be better left link-less.

    Alternate Cuts
    The 100 Films Guide To…
    Shorts
    1941

    BlacKkKlansman

    Captain Marvel

    Deadwood: The Movie

    Dr Mabuse, der Spieler

    Eyes Wide Shut

    The Favourite

    Godzilla

    Green Book

    Hereditary

    Isle of Dogs

    Jojo Rabbit

    The Meg

    Once Upon a Time in Hollywood

    Portrait of a Lady on Fire

    The Red Shoes

    Scott Pilgrim vs the World

    Sherlock, Jr.

    The Twilight Saga: Breaking Dawn - Part 2

    Waltz with Bashir

    Zatoichi Meets Yojimbo

    Deadpool 2: Super Duper $@%!#& Cut

    The Matrix Reloaded

    Battle at Big Rock

    La jetée

    Pleased to Eat You!

    .

    This year I reviewed many and various television programmes across a dozen(ish) monthly columns. It would be pretty meaningless just to list those roundups, so instead here’s an alphabetical breakdown of what they covered, with appropriate links.


    Always the highlight of the year: it’s the statistics.

    My Most-Read Posts of 2019

    2019 may’ve given us the highest grossing film of all time, amongst numerous other big events, but TV reviews once again dominate my most-viewed posts of the year — in the rankings of new posts, there’s no film until 8th (if we widen that to include older posts, it’s all TV until 14th).

    But this is still theoretically a film blog, so — as usual — I’ve compiled my five most-read TV posts (which, obviously, is the same as my outright five most-read posts) and then my five most-read film reviews.

    My Top 5 Most-Viewed New TV Posts in 2019

    5) The Past Month on TV #45
    including Game of Thrones season 8 episodes 1-2, Thronecast specials and series 8 episodes 1-2, Deadwood season 3, and The Twilight Zone ‘best of’ selection 2.

    4) The Past Month on TV #43
    including The Punisher season 2, Russian Doll season 1, Hanna episode 1, Les Misérables episodes 4-6, the 91st Academy Awards, the British Academy Film Awards 2019, Great News season 2 episodes 8-13, and Mark Kermode’s Oscar Winners: A Secrets of Cinema Special.

    3) The Past Christmas on TV 2018
    including Doctor Who: Resolution, The ABC Murders, Watership Down, Not Going Out: Ding Dong Merrily on Live, Upstart Crow Christmas special, Click & Collect, Goodness Gracious Me: 20 Years Innit!, Mock the Week, Have I Got News for You, Insert Name Here, Mrs Brown’s Boys, Simon Callow’s A Christmas Carol, The Dead Room, Mark Kermode’s Christmas Cinema Secrets, and Les Misérables episode 1.

    2) The Past Fortnight on TV #46
    This attracted almost three times as many views as the post in 3rd (that graph in the header image is accurate — the top two were out well ahead of everything else). What attracted such attention? Nothing less than the final season of the biggest TV show of the decade: Game of Thrones. This post included Game of Thrones season 8 episodes 3-4, Ghosts series 1 episodes 1-3, Columbo: Murder by the Book, The Twilight Zone ‘best of’ selection 3, Mark Kermode’s Secrets of Cinema: Disaster Movies, and Thronecast series 8 episodes 3-4.

    1) The Past Fortnight on TV #47
    My comments about IMDb voters of the Game of Thrones finale attracted some degree of ire, which helps lead this one to first place. In fact, it’s already my 4th most-viewed post of all time. It only included Game of Thrones season 8 episodes 5-6, The Twilight Zone ‘best of’ selection 4, Eurovision 2019, and Thronecast series 8 episodes 5-7.

    My Top 5 Most-Viewed New Film Posts in 2019

    5) Star Wars: The Rise of Skywalker
    Jumping in here in the final days of the year, the much-anticipated conclusion of the 42-year nine-film Skywalker Saga. Shame it was such a load of rubbish.

    4) The Highwaymen
    Netflix films often do well in these rankings, especially if I review them promptly, and that applies to both this and the film in 3rd. There were also Netflix films in 6th, 8th, and 9th places, and a Sky Cinema debut in 7th.

    3) The Silence
    Mind, there are better Netflix films people could’ve chosen to read about than this.

    2) Glass
    That said, a promptly-reviewed big theatrical release can top even Netflix titles, as these next two show. Alternatively, they say something about the continued dominance of superhero movies.

    1) Avengers: Endgame
    Well, it is the biggest film of all time.