sgpfan Reviews

Spectre (I) (2015)

Sloppy Clone

[6/10 · 14 November 2015]

Spectre is riding more on hype and the ongoing Bond mystique than on actual ability.

The plot does have some interesting nuances and twists, but the handling seems not to capitalise on these and one soon gets the feeling of a film that's going on for too long imitating almost any other contemporary action flick (Jason Bourne springs to mind).

Also, for a highly trained top agent, Bond is simply and unbelievably sloppy.

After a protracted and unbelievable chase sequence in the European Alps, Bond (as expected) manages to rescue the damsel in distress but fails to check if all of her kidnappers are either dead or have no easy access to arms. The fact that Mr Hinx is seen coming back to consciousness and reaching for a gun could well have spelled the end of 007 then but he blacks out, leaving Bond to fight another day.

That same sloppiness is also to be found elsewhere in the film.

In the destruction of Blofeld's complex in the middle of the African desert, one can easily see cars escaping the blaze as Bond pilots a chopper to escape to safety. So why did he not tail the escaping cars to check if Blofeld had somehow manage to survive the blast? Also, in the final fight sequence where Blofeld flees across London in a helicopter, Bond (suspend your belief here)manages to fell it by aiming his handgun from a speedboat riding roughshod on the Thames and an injured Blofeld crawls out to be confronted by Bond. Our hero refuses to end Blofeld's life there and then by squeezing his trigger, but turns his back on him after muttering that he has better things to do. Again, no check to see if Blofeld is armed! Very, very sloppy! Overall, Spectre is still a good movie but definitely not one of the great Bonds.

The Second Best Exotic Marigold Hotel (2015)

Lives Up To Its Title

[4/10 · 1 March 2015]

They should have left well enough alone after the gem of the original and I should have known better to believe that a sequel can be as good as the original.

It is indeed the Second Best Marigold Hotel as it pales in comparison to the original.

This film is done without the panache, lilt, subtle wit, dry, sardonic humour and charm that made the first movie such a great watch and also leaves lots of questions unanswered at the end, as if the producers are hankering to do yet another sequel.

If they are trying for The Third Best, I would suggest they title it the Third Rate Exotic Marigold Hotel instead.

The Muppets (2011)

Why Was This Movie Made?

[1/10 · 4 January 2012]

I have fond memories of The Muppet Show from the 1970s and this project does not even come close to it.

The TV Muppet Show scored on zany, spontaneous humour. The best that may be said of the attempts this movie makes of resurrecting this trait is that I've had better times seeing paint dry on walls. And it wasn't just me either - I viewed this clunker of a movie with parents bringing children of all ages and not a single laugh was heard throughout the entire run, whereas Kermit and Co could be counted on to bring the roof down when the TV show was running.

A weak plot coupled to cardboard acting from the lead characters adds to the dismal atmosphere.

This is corporate Disney shamefully milking a once cherished trademark for all it's worth.

Avoid this movie like the plague if you wish to preserve your fond memories of The Muppets in their prime.

The Green Hornet (2011)

Good But Could Have Been Better

[4/10 · 24 January 2011]

First of all, The Green Hornet was a show that I grew up with when it was screened on TV, so it was nice to see it hitting the big screen to play to a newer generation audience.

That TV series itself was adapted from the radio serials created by George Trendle (who also created The Lone Ranger, to whom the Hornet is supposedly distantly related).

If nothing else, the TV series launched Bruce Lee and his martial arts practices to an unsuspecting world.

The movie made some right gestures toward acknowledging the TV series by having the image of Bruce Lee popping up on Kato's sketch pad when he meets Britt Reid for the first time. The closing sequence where Britt Reid is shot by Kato in pubic to disguise a wound suffered while battling the baddies the previous night also took a leaf out of an episode from the TV series where a similar situation was portrayed. Sadly, Van Williams, the only surviving cast member, did not make a cameo appearance.

Whether he refrained from doing so out of indifference towards show business or if he saw the plot of this movie as not being worthy remains unknown.

Where the movie strays off course somewhat is in the killing off of DA Frank Scanlon, who in previous incarnations of The Hornet, was one of only two persons who knew of The Hornet's alter ego (the other being Lenore Case, Britt Reid's secretary).

I realise that every rendition of a character should be interpreted by the player acting the role, but somehow, Seth Rogen's portrayal of Britt Reid was a little OTT and also at times, uneven, for my liking. In some scenes, he came across as boorish, obnoxious and overbearing, yet in others that were closely juxtaposed, he was caring and concerned.

Jay Chou is a self-confessed Bruce Lee fan and some would say that his delivery was as deadpan as the late, great Bruce's, while the fight sequences were nowhere as stunning as in the TV series. To be fair to Mr Chou, not many can come close to Bruce, let alone surpass him.

Coupled to the several continuity and plot errors already highlighted, this movie rendition came across as OK, but not great. A shame really, as with a little more tweaking, it could have been more likable.

Finally, here's one more for the boo boo list - during the final clash scenes at the offices of The Daily Sentinel, The Hornet's ride, The Black Beauty is slice in half, yet continues to drive on owing to Kato stating that it had front wheel drive. Being a modified Chrysler Imperial (as was the George Barris custom used in the TV shows), there would be no way even a claimed engineering supremo like Kato would have been able to convert a classic rear wheel driven chassis to this in the time he had!

Perhaps that was another challenge for The Green Hornet (as the opening line to the introductory narrative for the TV show went each week).

Mr. Bean's Holiday (2007)

Truly Awful!

[1/10 · 6 April 2007]

Let me get this off my chest first of all - I really think Rowan Atkinson is a very talented man and I really appreciated his early Mr Bean adventures on the small screen.

However, this full length movie (the second featuring the retarded but likable Mr Bean) just lacks the spontaneity and sparkle that made the TV episodes so amusing.

The lame plot and stereotyped characters add to the general tedium of the movie, making it seem much longer than it is.

One could also find fault with certain practices, such as Mr Bean and the female lead taking turns at driving in a highly fatigued state, not something that should be promoted in a movie designed to be family viewing.

There is the odd chuckle that the story line and Atkinson's acting brings about, but generally, this movie is an emphatic but sad depiction that Mr Bean is a character whose fifteen minutes of fame has well and truly passed.

Stormbreaker (2006)

A Curate's Egg But Still Impressive

[8/10 · 13 March 2007]

It seems that this movie has polarised opinions, with some thinking it as great and others as dire.

Having to translate an already established character from print to screen is never easy and Stormbreaker at least had the creative input of the original author, which should have ensured that the transition stayed true to form.

Having not read the book, the movie adaptation came across as quite enjoyable in its own right, though there remain loopholes in the plot (more about which a little later on).

Those who bemoan the movie departing from the book should take note that most if not all print to screen adaptations do have a degree of artistic licence imposed and Stormbreaker is no different.

Regardless of where you stand on this, the impression is that the stellar cast was put in place to brace up the little-known lead, Alex Pettyfer; but the producers need not have worried as he carried off the role rather well - some of the one-liners he rolls off are as droll as Sean Connery in his first Bond outings!

Alex Rider is turned from a schoolboy mourning his uncle's untimely passing to youthful spy through manipulation - Alan Blunt, the director of MI6, threatens to prosecute and deport Alex's housekeeper cum nanny for overstaying her visa.

All this after a disbelieving Alex is briefed by MI6 that his uncle, Ian, was actually a spy himself and had planned all along for Alex to follow in his footsteps by having him partake in activities such as self defence, mountain climbing, scuba diving and language training.

Alex is then sent to a boot camp where he proves himself and is thereafter assigned his first mission, taking over where his uncle left off, ultimately saving the day in a high flying (no pun intended) finale.

Stormbreaker is commendable for getting the job done without resorting to the use of foul language or sexual innuendos, which are becoming hallmarks of almost any movie one cares to name today.

Unfortunately, the overall effort is let down by rather gaping holes in the storyline.

If Ian Rider took part in some of the activities Alex was on (as witnessed by the pictures gracing the Rider house), how could Alex ever say that his uncle was a boring, colourless man?

Ian Rider's car is seen in a breaker's yard with bullet holes in the driver's door but no other signs of impact damage. Just how did the powers that be at MI6 get round to convincing the police that the driver perished as a result of a crash?

The lead villain's plan to release a bacteriological virus simultaneously through his donated computers makes you wonder why he would be so keen to be in the centre of things as he would succumb to becoming a victim himself!

Also, when Alex bids the drugged Mr Grin to fly him to London in the quickest way possible, what happens to him after Alex leaves the chopper? Does he fly on and get away, or does he turn himself in on Alex's command?

The man who killed Ian Rider is ultimately the one who saves Alex, with a rather implausible explanation in the final minutes of the movie, though this it seems that this is a running plot line in the books themselves.

Despite these let downs, the series itself does have potential for future films (even if some fans think strongly otherwise).

However, given the rather dismal box office proceeds Stormbreaker received States-side, it remains inconclusive whether any further dramatisations will be made and this could well be a one ride effort.

If another dramatisation of the Rider books does come about, it would have to feature a different actor portraying Alex as Pettyfer has undergone puberty and is now much too old to reprise the role. Now, this is something that this series has in common with the Bond franchise!

I Dream of Jeannie (1965–1970)

Glimpses Of A Gentler, More Respected America

[8/10 · 8 August 2006]

Although many rate "I Dream Of Jeannie" (IDOJ) as a knock-off of "Bewitched", which debuted a season earlier, this is a show that can stand on its own two feet.

Despite the female lead in both series having powers beyond mere mortals, the set up is vastly different in IDOJ as compared to its leading rival.

For starters, Jeannie is a more minx-like, impulsive creation that has yet to be domesticated. The closest parallel would be Samantha's mother, Endora, in "Bewitched". Barbara Eden was perfect for the role and the other lead players in the form of Larry Hagman (who later went on to achieve superstar status as evil J R in "Dallas"), Bill Daily and Hayden Rorke played their roles to perfection.

Like most series that are spontaneous, the cast members got along very well on and off screen, as verified by their comments in a filmed reunion interview found on the recently released DVD set.

In IDOJ, the sizzle comes from the developing romantic relationship between an unmarried, eligible bachelor played by Hagman and a beautiful, tempestuous lady; whereas in its witchcraft themed rival show, the romance between the lead characters was already established in a marriage and the setting was more domesticated. I am not saying that "Bewitched" was a better or worse programme, merely that IDOJ and that show achieve their ends through different means.

More importantly, perhaps, IDOJ provides a glimpse into a more innocent era before America was fully embroiled in Vietnam. It portrayed a military career and astronauts as noble career paths, so unlike what many think of these vocations today.

Also, in an early episode, Hagman's character is seen in a mid-Eastern setting in full USAF regalia, something that would not be as openly received in these perilous times we live in now.

All TV shows are generally a reflection of the era they were made in and IDOJ seems to capture the reverberations of a gentler and more respected America perfectly. Watching it now, the viewer gets to wonder how it all could have changed so dramatically in just four decades.

So, as a means of escapism and rose tinged nostalgia, this one takes some beating.

One last comment - the trivia bit which states that all characters drove Pontiacs is wrong as Bill Daily's character drove a Ford Fairlane Convertible, at least in the first season.

Superman Returns (2006)

Generally Well Done But For....

[6/10 · 13 July 2006]

This is a rock solid action piece from start to almost the end, when it goes a little mushy and pear-shaped.

Superman being brought to hospital close to death after saving the world (or is that the Eastern seaboard of America only?)and making the type of recovery one only gets to see in soaps? Come on! There are also bloopers along the way - why were his super powers unaffected when he flew over the boiling water masses into which Lex Luthor threw in a Kryptonite wrapped crystal from Superman's Fortress Of Solitude? How is it that during his hospital stay, no one ever thought of finger-printing Superman, which could have led to the discovery of him being Clark Kent? Why does no one notice Clark Kent is missing in action when all the turmoil breaks loose? After all, Superman was in hospital for a considerable period of time and everyone noticed Lois Lane was uncontactable after only a few hours out of the office.

The scene in front of the Daily Planet offices has a white Australian Ford Falcon EA series smack in the middle of the traffic gridlock. This model was never brought into the USA.

Lastly, the ending leaves the door open for that beloved doyen of Hollywood - scope for more money-spinning sequels!

Hostage (2005)

Deja vu Right Through

[6/10 · 12 June 2005]

This is one of the more watchable Bruce Willis films for a long time.

However, that does not forgive it its faults, which may be glossed over by Willis fans or action movie buffs, but they are still there nonetheless.

The movie starts off well and makes it past the half way mark intact, with a gripping enough story line, but falls apart around the two-thirds mark, owing to the need to wrap it all up neatly before the end credits roll.

It uses several tried and tired clichés seen before in films of this genre, such that most of the early favourable impression is dissipated by the finish.

The prognosis for 'Hostage' is engaging enough, with a father and his two children held captive in their home, which lies within the jurisdiction of a small town police chief, played none other than Mr Willis.

The character brings some baggage with him, as he is in the job after a badly botched negotiation while he was in the LAPD. Cliché #1.

The trio of small time hoods that holds the family hostage comprises the usual green goody two shoes who is not in cohorts with the hard core hoods (Clich #2), while one of the seasoned criminals just happens to be neurotic (Cliché #3).

Of course, the house that the family is held hostage in just happens to be in the middle of the boonies on the outskirts of town, with only one way in and out. Cliché #4.

And, the house is fully loaded with security systems, making it a virtual fortress in which the gang can dig deep into as law enforcement forces lay siege. Cliché #5.

Topping it all off is the fact that the head of the family being held hostage is none other than the accountant for an organised crime syndicate and that the house holds many secrets that his employers would like preserved and not falling into the wrong hands. Clichés 6 & 7, respectively.

A trigger happy incident sees one of the police team being killed, bringing forward the usual media feeding frenzy, which calls the hostage incident to the attention of the accountant's employers.

They seize upon the opportunity to take Willis' family hostage after piecing two and two together about Willis' past (Cliché #8) and threaten to kill them unless Willis can recover the desired materials from the house (Cliché #9).

Aiding Willis in his predicament is the younger of the two children being held hostage, who manages to break free and runs around undetected within super fortress via the ventilation shafts, another popular Hollywood cliché, making this #10.

Outside, the usual in-fighting and politics between various branches of law enforcement prevails, adding to the supposed tension. Cliché #11.

Inside, the hoods bicker among themselves, leading to the neurotic one proving the adage of survival of the fittest stills holds true. Cliché #12.

Willis' eventual rescue of the accountant and his family makes the bean counter see the light of day and he comes to aid Willis in is time of need, returning the favour by playing a part in getting Willis' family liberated. Cliché #13.

This is, after a massive finale, in which the neurotic hood is thought to be dead, but springs back to life to terrorise his victims one last time before literally going out in a blaze of glory. Now where have we seen the 'thought he was dead, but he ain't so yet' trick before? Cliché #14.

Of course, there are various shoot outs, explosions and mayhem along the way, aided along by multiple use of the F word - what do you expect of a Hollywood blockbuster thriller these days? Cliché #15.

If this movie invokes memories of Willis' earlier 'Die Hard' series, then you are perfectly right, making this the penultimate cliché.

A good enough movie to while away a couple of hours, but hardly vintage material.

The Thomas Crown Affair (1999)

Slick

[8/10 · 11 June 2005]

Those who maintain that remakes never are as good as the original on which they are based should take a look at this film.

Pierce Brosnan recaptures the rebellious cool that Steve McQueen displayed in the original film of the same name and adds a further gloss and polish to the character.

While the story line remains basically true to the original, it has been modernised and comes across even tighter.

As in the original, Thomas Crown is a successful businessman to whom everything comes easily, so much so that everyday dealings leave him bored. Bored enough to strike out in a non-violent way and stage a super art heist, where the thrill of staging the caper and the following cat and mouse game to stay ahead of a feisty female insurance investigator assigned to the case provides the kicks he is missing.

Eventually and expectedly, the relationship develops and the viewer is dragged on an interlude of exotic locales besotted with the props of a very good life.

The lead players display a sizzling chemistry that propels the film along at a scorching pace, culminating in an ending that is better resolved than the original McQueen edition if you are a sentimentalist.

Good support cast, with a cameo by Faye Funaway (who was the female lead for the original), help the film along. If one listens carefully to the background music, the original theme ('Windmills Of Your Mind') may also be heard. It is touches like these that pay homage to the original version, while allowing this renewed edition to have an identity all its own.

Overall, a classy and dynamic remake that scores highly on its own.

The Upside of Anger (2005)

Good But Not Great

[6/10 · 10 June 2005]

This is a movie that draws audiences through its great character portrayals that run the gamut from the joy of rediscovering love, to potential and actual tragedy and heartache, as well as anger.

However, some may find the pace a tad slow while Costner-bashers (and there are many) will remark that he has finally found a role that suits him. Not that he shines here but the character he plays is a reflection of his actual life - a has-been who has seen better days and is clinging on to fame and celebrity by the skin of his teeth.

Regardless of what you think or feel about Costner, it is shocking to see him deteriorate so much physically as the effect of middle age has fully come home to hit him in the gut (pun intended!).

Costner's ability to fit into a family initially thought to have lost its husband/father figure to a mid-age love affair to an ex-office staff, only for the shocking truth to be revealed later, lifts the movie.

The great interaction between four daughters and an angry wife with Costner's father/suitor role does not come across as sickeningly sweet and is handled deftly by the players and good direction as the plot unfolds.

If you can spare a couple of hours and want a quiet movie that does not shock with violence or ridicule with over the top humour, this may be just the one to while away a rainy day with. Not Kleenex box at hand material, but sufficiently absorbing and engaging enough.

Mr. & Mrs. Smith (2005)

Had Much Potential, Lost Its Direction

[5/10 · 10 June 2005]

The basis for this movie was really great - two professional assassins working for different arms of the service, unknown to each other even when they wed each other after a whirlwind romance brought about through circumstances beyond their control.

It smacks in part of earlier films such as 'Spy Kids' and 'Undercover Blues', while the deteriorating relationship that makes up the body of the plot invokes a deja vu feeling again, this time calling 'The War Of The Roses' into memory.

While the story line is intelligent, it loses its crispness by not deciding whether it should be a thrilling comedy or something more serious. The end result is that it pleases neither camp wholeheartedly.

Sure, many will find this movie a must see, based on the draw power of the lead players alone, and the fact that they are both extremely photogenic adds to its cause.

However, strip off the veneer of Hollywood gloss and Mr & Mrs emerges as a movie with so much potential that fizzled out, sort of like a marriage that has gone on for too long and seen much better days.

It's a Mad Mad Mad Mad World (1963)

Unrepeatable

[19 May 2005]

It's A Mad, Mad, Mad, Mad World (MW for short) is a movie that will never be repeated.

Sure, the plot sags in places and the basic premise is rather simple, but remakes using the same script have not shown the spontaneity of the original.

Some of this must be credited to the stellar cast, comprising almost every known comedian of the day, who all overcame their professional rivalries to combine to make MW - Sid Caesar and Milton Berle were rivals on TV, but made good counterfoils in this movie, while Spencer Tracy (better known for his character portrayals and subtle comedy roles) makes for the perfect straight man.

A madcap music score supports the frenetic chases and adds to the overall mirth of the movie.

The best thing about MW is that it could actually happen to anyone at any time - a recklessly driven car overtakes innocent leisure motorists and goes off the road in a dramatic style, prompting some of the occupants in the vehicles passed to go to assist, only to find that the driver is an ex-con escaping from his pursuers on his way to recover his massive, buried loot.

His dying words come in the form of a cryptic clue as to where the loot is located, which he bequeaths to the Good Sams who come to his aid.

The ensuing mêlée is hilarious as the parties privy to the info suppress it from the cops who eventually show up on the scene. As they just cannot agree on how best to divide it among themselves after considering various ways to split the fortune, it leads to an "it's everyone for himself" scenario, resulting in some of the greatest chases ever shot, and all this before car antics became the Hollywood norm! The various characters caught up in the frenzy display all the virtues - and vices - of human nature and it's hard not to spot yourself as one of the people types portrayed.

And, just when you thought that everything is over with the ill-gotten gains leading to a mass feeding frenzy among the general public when the case in which the money is bundled into springs open to spill out several stories high; and the key players (and some support cast) getting their just deserts seeing them injured and hospitalised in the process, along comes an ending that sees humour bursting through to save an otherwise grim situation.

MW may be over 40 years old, but it can and does still show Hollywood that it has not come a long way since so far as star-studded comedies are concerned.

Charade (1963)

Elegant, Intelligent Thriller

[8/10 · 29 April 2005]

What can you expect when you have two of the silver screen's most elegant players in the top billing ably backed up by first rate character players who later went on to achieve great things with their careers? A whammy of a thriller loaded with an intelligent plot, complete with twists, that keep the viewer beguiled and mesmerised without getting confused in the process.

Cary Grant displays his usual debonair style and lilt to the full in this role, while Audrey Hepburn is anything but the helpless, hapless widow heroine in this golden oldie.

George Kennedy, James Coburn and Walter Matthau round out an excellent cast.

A memorable theme song helps further the movie's claim to fame.

'Charade' treads the fine line between comedy and action deftly such that the tension of one scene is nicely relieved by an adjoining light hearted moment. Superb direction and good editing help the already talented cast achieve this without coming across as campy.

'Charade' reeks with the elegance and innocence of a far simpler time, when JFK was in the White House and everything looked absolutely positive.

Imagine Cary Grant's character issuing an executive memo to get all office doors in the Paris US Embassy locked during lunch time after it is discovered that one of the villains duped Audrey Hepburn's character by borrowing an office! Today, you'd probably need to undergo a full body search just to get into the embassy! Movies like this are hard to find and even rarer to have stood the test of time.

See this one for its plot as well as to soak in a bygone era that is sorely missed by many.

The Interpreter (2005)

Predictable But Good

[7/10 · 22 April 2005]

'The Interpreter' charts a predictable course and one can deduce the gist of the story before the movie is more than half through.

However, this does not stop it from being an eminently watchable movie.

As an earlier reviewer has commented, the characterisation done by the lead players, Kidman and Penn, are superb and lend their characters some degree of gravitas that is so often missing in Hollywood action thrillers these days.

A good ensemble of support players adds to the credibility of the movie, while on location shooting within the UN Building furthers the atmosphere.

The only let down to the show (and this movie is not alone here) is a rather weak and inconclusive ending that leaves the viewer to draw his/her own conclusion. In other words, it leaves the possibility open for a sequel.

Overall a good show and one that does not rely on gratuitous violence (although there are some scenes that depict brutal acts), combined with spadefuls of foul language to get the message across. This is the sort of movie Hollywood used to make so successfully but has not done so in recent times.

Ocean's Twelve (2004)

Resting On Laurels

[2/10 · 11 February 2005]

"Why couldn't they have left well enough alone?" will be the comment made after you see this sequel to the highly popular and fantastic Oceans 11 (which in itself was a re-make of a classic).

O12 suffers from a plot that tries to incorporate twists to make it more captivating and intelligent but instead makes it feel convoluted and downright dull in places. The biggest letdown is that the final twist becomes patently obvious early on in the movie, thus defeating its intended impact and making O12 end with all the impact of a damp squib.

An overly long feature length does not help matters and one gets the feeling that O12 could have been much more enjoyable had it been clipped down by about 30 minutes or so.

O12 is saved in part by some scenes - notably the one in Rome where a good spoof of Julia Roberts played by none other than Julia Roberts lifts it somewhat - but overall, O12 remains a movie with a plodding pace and one that is a shadow of its brilliant predecessor.

The chemistry among the players still exists but seems to have been swallowed up wholesale by the length of the film such that much of the sparkle and sizzle that is found in Oceans 11 is missing.

The shame is that O12 is a fundamentally good idea that is let down by poor execution. Simply put, it could - and should - have been so much better.

If they are ever planning a sequel to this one (and why wouldn't they, just to rake in more $$$?), it had better be much better put together.

The Aviator (2004)

Great Opportunity Missed

[2/10 · 10 February 2005]

Howard Hughes was one of America's icons of the 20th century, if for some of the wrong reasons as he went from multi-millionaire talk of the town to eccentric recluse at the end of his life.

The movie tries hard to delve into Hughes' personal life.

It begins with an opening that tries to explain his fear of germs and bacteria in his later life with an all too brief scene, to his association with some of Hollywood's leading luminaries and his battle with the established studios that almost led to his losing everything, his aviation triumphs and disasters and finally his standing up to a US Senate Committee investigation.

The flow of events is dramatically portrayed, but the flow does not seem as smooth as it could be as one gets the feeling that certain events that have already passed are brought back, thus messing up the chronology.

What the film also seems to miss is a conclusive ending as the viewer is left lurching at the end of the movie, wondering what happens next and neither is the usual text commentary flashed at the end to bring the audience up to speed. If this is the studio's attempt of teasing for a coming sequel, it fails miserably.

For some, DiCaprio's dramatisation of Hughes may also ring hollow as he sounds too juvenile in the voice department to come across as a powerful, all conquering, devil may care magnate. Having yourself as the Executive Producer obviously helps in the casting call!

See this movie by all means, but be prepared to emerge after a rather lengthy time wondering if it could have been done better.

Return of the Saint (1978–1979)

The Saint's Jaguar

[27 January 2005]

This one should really be in the trivia section for this show listing.

Jaguar were originally approached to provide the car for the Roger Moore series, but turned down the request stating that they were having trouble keeping up with demand for their then new E Type (XKE in the USA).

Volvo's P1800 got the role and shot to instant fame, with Jaguar kicking themselves over the missed opportunity. They bent over backwards to provide the car for Ian Ogilvy's rendition of Simon Templar, and more than one car was used - spot the difference in interior trim: episodes shot in Italy have an XJS with a black cabin, others a tan cabin! In the recently released DVD set, Ian Ogilvy commented that the XJS was magnificent to drive - when it worked! Apparently, the quality and reliability of the car(s) left much to be desired with a multitude of faults encountered throughout the shoot, despite a full-time Jaguar technician being present. The most embarrassing incident was when Mr Ogilvy volunteered to drive the car back from Italy to the UK with his family and take a vacation en route, but the car broke down on them just several miles out of Rome! Mr Ogilvy does admit that Jaguar has improved much over the years and are considered good cars today, though.

Robin Hood (1984–1986)

A Real Cult Classic

[14 July 2002]

An HTV (ITV) production that has stood the test of time very well, and one that even the BBC admired in its day for its high production values.

This was a magic series, especially during the Michael Praed seasons (1 & 2), as the cast and crew really got along well both on and off screen. The chemistry shows in the interaction between the characters, with the acting coming across as natural and not strained.

Combine this with beautiful locations, well written plots and the inimitable Clannad theme and support music and the basis for a cult classic is made.

This is one of the shows that few will ever tire of watching, and for many, forms the definitive version of the Robin Hood legend.

Michael Praed was in his early 20s when he did this role, and he really put his stamp on it - it is doubtful if anyone else can or will command as much on-screen presence as he does playing this character. When he departed the series at the end of season 2, he did so in a way that probably furthered his fan following. Pity then that he did not find many meaty screen roles after doing Robin Of Sherwood until the recent 'Secret Adventures Of Jules Verne', although his stage performances in 'Aspects Of Love', 'Carousel' and others confirm his inherent talent.

The rest of the cast also deserve mention, particularly Nickolas Grace as the Sheriff and Robert Addie as Sir Guy, the hapless fall guy throughout the series. Guest stars read like a who's who of British drama, thus reinforcing the fact that Robin Of Sherwood was a mover and shaker in its day. It remains so today.

Thankfully, the Praed series have now been released on DVD and many be pucrchased through Amazon UK, making them accessible to a whole new generation of viewers.

Robin Hood: Robin Hood and the Sorcerer (1984) Season 1, Episode 1

Kick Off To A Fantastic Series

[10/10 · 14 July 2002]

This double length feature (shown as two parts in most markets outside the UK), was the first of the Robin Of Sherwood programmes. It introduced the principal characters in the series and the mystic angle that series creator, Richard Carpenter, was trying to weave into the age old ballads of Britain's most celebrated outlaw.

The combination was dynamite and led to a highly rated series that found many followers around the world.

The young cast, led by Michael Praed as Robin and Judi Trott as Marion, had real chemistry among themselves, which, aided by Carpenter's superb writing and Ian Sharp's direction, made for an eminently watchable movie length feature and following series.

Anthony Valentine's role as the demonic Simon De Belleme will send a shiver through many viewers, particularly in the confrontation between Robin and himself. Nickolas Grace also deserves mention for his portrayl of the Sheriff of Nottingham.

The romantic angle hasn't been ignored either, with Praed and Trott hitting it off beautifully from the moment they first meet on screen.

The show may be close to two decades old, but like good wine, it has aged well and still comes across today as a good watch for its blend of drama, action and romance.