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Reviews
The One I Love (2014)
Original, Relevant and Thought-Provoking.
The One I Love is a romantic comedy/drama that's very much in the same mold as romantic comedies/dramas by directors like Spike Jonze and Charlie Kaufman. However, it has its own unique voice and rather than feeling like a cheap imitation of the work done by these great directors, debutante feature director Charlie McDowell has created a movie that at the very least matches if not surpasses, movies such as Her and Eternal Sunshine of the Spotless Mind.
At the start of the movie we are introduced to the struggling young married couple Ethan (Mark Duplass) and Sophie (Elisabeth Moss). They are in therapy after having been growing apart for a while, resulting in Ethan being unfaithful, failed attempts to recreate past happiness and a distinct absence of sex in the relationship. When their therapist (Ted Danson) suggests going to a weekend retreat to mend things, the struggling young couple's lives are changed forever. What begins as a normal weekend away, soon develops into a uniquely strange scenario and madness ensues.
For all of the movie's strengths, the primary strength derives from the two central performances. Right from the word go the chemistry between the two leads is palpable and you completely buy into their relationship and their marriage, whether they are playfully exchanging banter or arguing about the state of their marriage. However, it is not until the big twist/reveal drops halfway through the movie that the strength of the two performances really comes to the fore. Despite the fact that aesthetic differences (glasses/no glasses and hair pinned back) are cleverly used to distinguish the clones from their original counterparts, the acting from Duplass and Moss is so great that you could have scrapped these differences and I would have been able to instantly tell the difference between the originals and the clones, just from a few lines of dialogue. In the hands of lesser actors the original characters and the clones would have seemed like two of exactly the same character but it's clear throughout the movie that Duplass and Moss are playing two similar but uniquely different characters each.
The themes tackled by the movie are timeless and have either never been tackled before or certainly not tackled in this way. The basic idea that you are never the same person you were when you first got married, years into the marriage is certainly relevant to most if not every couple and it is fascinating to explore how this basic fact impacts the relationship. Additionally, the idea that everybody behaves differently depending on the company that they are with and carries multitudes, is definitely true of every human being and it is great to see a movie that confronts this issue so openly. Finally, it is refreshing to see a romantic movie that does not deal with fairy-tale romances but rather poses the question of whether there is such a thing as a "perfect" relationship or whether a "perfect" relationship always comes at a cost or whether issues and problems in a relationship can sometimes be a positive thing.
For a first time feature film director, Charlie McDowell manages to balance the comedic and dramatic elements of the movie with remarkable assuredness. Throughout the refreshingly short but sweet 90 minutes run- time, at no point does it ever feel like the comedic element is overpowering the dramatic element and vice versa. This is down to McDowell's confident direction and Justin Lader's intelligent and cogent script for the most part. The soundtrack is also a great aid in creating and managing these tones. The originally composed music facilitates the constant interchange between comedy and drama really well, as to do the existing songs selected for the movie's soundtrack. The song appropriately named Dedicated to the one I love by The Mamas and Papas, is particularly effective at hammering home the haunting repercussions of the weekend's events and plays out the movie brilliantly.
There are a few criticisms of the movie I have that almost go as far as to prevent it from reaching a perfect 10/10. The fact that the origins of the clones is only partially explained is a black mark against the movie. It would have been totally fine to have told us nothing about the origins of the clones but as soon as there was that scene with the computer and the audio files, they had to explain everything about the origins of the clones and they did not manage it. Also, a very minor criticism I have is that some of the scenes and the interactions can seem slightly repetitive in patches.
Ultimately, in a day and age when the summer movie scene and the movie scene as a whole for that matter, is dominated by comic book movies and sequels, it is very refreshing to see an original, relevant and thought- provoking movie. It is particularly refreshing to see two very talented actors at the top of their respective games. Mark Duplass has always impressed me by how multi-talented he is and in my mind Elisabeth Moss is one of the best actresses working today and is seriously underrated, considering that in my mind she is on the same level as Amy Adams, Cate Blanchett, Jennifer Lawrence and other globally celebrated actresses. The One I Love is a fantastic 90 minute experience and I hope that it gradually finds its way to mainstream audiences.
Gravity (2013)
Revolutionary.
Spanish director Alfonso Cuaron returns, pushing the technological boundaries within cinema in his box office smash hit Gravity. Cuaron's already impressive filmography which contains films like Children of Men and Harry Potter and the Prisoner of Azkaban, perhaps has its most impressive creation. This film demands to be seen in 3D, something which I didn't think I'd ever be saying.
Veteran astronaut Matt Kowalski (George Clooney) and novice medical engineer Ryan Stone (Sandra Bullock), are carrying out a technical mission in space when disaster hits and the accumulative debris of many destroyed satellites, kills their colleagues and destroys their shuttle. Adrift in space where nothing can carry sound and it's impossible to live, the two must work together and overcome their inner demons in order to survive.
The undoubtedly mind blowing special effects and the technical ambition and mastery of the whole production, are of course Gravity's main assets. Massively entertaining and engaging set-pieces in which destructive debris storms wreak havoc, are unlike anything ever witnessed in the history of cinema. What was so impressive about these set-pieces though, was the way that director Alfonso Cuaron chose to handle them. A lesser director of big box office films such as Michael Bay would've chosen to ignore the fact that sound doesn't carry in space, in favour of creating a film with loud and overblown action set- pieces. However, in the very capable hands of cerebral director Alfonso Cuaron, this scientific fact isn't ignored and is instead, used to magnify the suspense and horror of these explosions, that occur under a foreboding backdrop of unsettling silence. Steven Price's suspenseful score and the 3D technology are further tools utilised by Cuaron, to create this jaw dropping horror story.
Sandra Bullock gives the best performance of her career in the lead role, conveying the sad and disconnected nature of Ryan Stone well. She also reacts in a convincing manner, as a person faced with an inconceivably horrifying situation. Co-star George Clooney was a perfect casting choice and is able to lend his charmed personality to the role of the chatty and enthusiastic veteran Matt Kowalski, with inconsummate ease. Keeping with the theme of great casting choices, the decision to cast Ed Harris as the voice of mission control was a nice heads up to the similarities between Gravity and space survival thriller Apollo 13, which Harris starred in.
Gravity is very easy to view from a thematic standpoint, as the film is essentially one long allegory. The emptiness and isolation of being in outer space is meant to be a reflection of the emptiness and isolation in lead character Ryan Stone's life on Earth, which she carries as a result of her very traumatic past. George Clooney's chatty astronaut Matt Kowalski is a representation of your everyday person, getting on with and enjoying life. It is this sort of influence that Ryan needs to give her the will to survive and return to Earth. The basic message of the film is that life must continue no matter what tragedy you've encountered in the past.
However, for all of the high praise that Gravity deserves, there are some underlying problems with the film. Despite being better than initially expected, the writing is nowhere near the quality of the writing in the other excellent films that Gravity has been bracketed with in the lead up to the major awards ceremonies. Brilliant writing and memorable dialogue are essential factors in determining whether a film is a classic or not and while Gravity has a better script than most blockbusters, the writing needs to be better in parts. Furthermore, the film lulls a bit in between its spectacular action set-pieces and this partly derives from the fact that some of the writing isn't quite engaging enough to fully sustain the audience's attention.
Ultimately, Gravity is a revolutionary survival horror blockbuster, whose impact will be as keenly felt in the future as that of masterpiece The Matrix. Its two strong lead performances and refreshingly short run time largely help to overcome the problem of a script that isn't up to the scratch of 2013′s other exceptional films. However, Gravity more than earns its place among these elite efforts.
The Hobbit: The Desolation of Smaug (2013)
An Extremely Enjoyable Epic.
Peter Jackson's second installment in his highly controversial Hobbit trilogy sees the addition of some new and exciting characters, as well as some stunning never before seen locations. A multitude of elements combine to make this film a marked improvement on the much maligned first part.
The Desolation of Smaug is the second leg of Bilbo, Gandalf and the company of 13 dwarfs' quest to reclaim the lost kingdom of Erebor and slay the dragon Smaug. They encounter many complications in the form of Azog's vengeance seeking band of orcs, the distrustful elves of the woodland realm and the formidably cunning and terrifying dragon Smaug.
What makes The Desolation of Smaug significantly better than its predecessor are its gorgeously ambitious and executed action set-pieces. Highlights include a typically Jacksonian river barrel chase and a beautifully choreographed fight scene which takes place in the center of the scenic Laketown. These types of set-pieces ensure that the pacing problems of the at times lethargic first film aren't repeated, as the film furiously jumps from one action scene to another, ticking many of the boxes of what an epic blockbuster should be.
The new characters blend in seamlessly with the world and the already established characters, mainly due to the skill of the actors playing them. Evangeline Lilly's Tauriel adds some much needed oestrogen into such a testosterone fueled world, making love rivals out of the handsome dwarf Kili and returning fan favourite Legolas. Lee Pace is very convincing as the extremely inward looking leader Thranduil, who Richard Armitage's Thorin has every right to distrust. Benedict Cumberbatch really nails the sinisterness and underlying intelligence in Smaug's personality, more than playing his part in the creation of one of the greatest CGI creations in cinematic history. However, it's newcomer Luke Evans who steals the show as family man and people's champion Bard the Bowman, giving him the steely resolve that Viggo Mortensen's Aragorn was imbued with.
From the established characters, Martin Freeman's Bilbo is still undergoing his fascinating character transformation that will span the full trilogy and will ultimately see him become a true hero. Freeman is a bit short changed in terms of his screen time but still manages to show off his talent, in particular his impeccable physical comedy. Ian McKellen once again lends his experience and gravitas to the role of Gandalf the Grey, while Richard Armitage does well in conveying the dark turn in lead dwarf Thorin's personality. The same few dwarfs that distinguished themselves in the first film play an important role, particularly Ken Stott's Balin who is quietly becoming the heart of this trilogy, constantly reminding everyone about the significance of the quest at hand.
Thematically The Desolation of Smaug feels very similar to the Lord of the Rings trilogy, as it deals with how wealth and power corrupt, as is evident in the cases of Bilbo and Thorin. The interesting thing about this film is that many of its themes derive form the source material and the inter-war period in which Tolkien wrote the book. The inward looking elves are clearly meant to represent the isolationist America that existed in this inter-war period and refused to join The League of Nations. Furthermore, the totalitarian society created by Stephen Fry's dictatorial master of Laketown, is almost certainly meant to represent the totalitarian societies being created by dictators Hitler and Mussolini in this inter-war period, with the suppression of elections and public participation being alluded to in the film.
The new locations Laketown and Mirkwood are like rich tapestries, as is befitting of Jackson's Middle Earth legacy. Their beauty is complimented and magnified by the typically excellent score from Howard Shore, which gives the whole production an epic feel.
The only problems in this cinematic milestone, stem from the source material and Jackson's wild ambition and limitless love for the franchise. Devoting enough screen time to all of the characters was never going to be possible given the nature of the source material, with only half of the dwarfs being established characters two thirds of the way into the franchise and the increasing feeling that Bilbo may no longer be the lead protagonist of the franchise. Jackson's ambition causes the final climatic action sequence to feel needlessly long and his love for the characters. means that the returning Legolas is given a ridiculously large amount of screen time.
Ultimately, Jackson has put his ambitious Hobbit trilogy back on track, with a far more confident and exciting middle film. While the heights of the Lord of the Rings trilogy can never be reached, this film comes as close to reaching them as is possible.
American Hustle (2013)
A Highly Entertaining Crime Film
American Hustle is David O. Russell's successor to the excellent Silver Linings Playbook, bringing together the stars of that film and the stars of his equally excellent effort, The Fighter. It is as a result of having such a talented cast at his disposal, that O. Russell manages to make a needlessly complicated narrative an entertaining piece of cinema in the vein of masterpieces such as Goodfellas and Boogie Nights.
The film is very loosely based on a real FBI scam conducted in the late 1970's and stresses this right at the start in order to help you suspend your disbelief throughout this crazy thrill ride. We're introduced to a pair of con artists (Christian Bale and Amy Adams) who are ultimately coerced by an eager FBI agent (Bradley Cooper) into using their particular skill sets to entrap corrupt politicians in order to secure their freedom. However, as the scam develops and the mob gets involved, it soon becomes clear that Christian Bale's loose cannon of a wife (Jennifer Lawrence) may be the one to ruin the whole operation for everybody involved.
American Hustle's main quality does not derive from its plot but from its hugely flawed characters, who have been expertly brought to life. Christian Bale looks almost unrecognisable as the out of shape conman Irving Rosenfeld. He is highly believable as a man who has been forced by his lack of options to operate on the wrong side of the law in order to survive. Amy Adams gives arguably the best performance of her career as con artist Sydney Prosser, who like Irving is doing her best with her limited options and envisions a better life for herself. The electric chemistry between these two characters is upset by Bradley Cooper's FBI agent Richie DiMaso, creating an interesting love triangle. Completing this outstanding core cast are Jennifer Lawrence who once again proves her excellence as Irving's mad manipulative wife Rosalyn and Jeremy Renner, whose portrayal of well-intentioned corrupt mayor Carmine Polito is brilliant.
The main theme that unites all of these characters is their pursuit of the American dream. Whether it's Irving and Sydney's dream of simply a better life or Richie's dream of making a name for himself and landing a gorgeous woman or Carmine's dream of building something bigger, everyone is doing everything within their power to achieve their dreams. The film not only provides a commentary on how the ideology of the American dream had such a profound effect upon 1970's American society, but also on how all of life is essentially a con. American Hustle suggests that people are constantly conning one another to get what they want and are even conning themselves just to get through life. This makes the con artists who are usually vilified in other films more grey and human, as they're portrayed as a more extreme reflection of society.
The period detail in American Hustle is very high quality and matches the benchmark for period detail set by US drama series Mad Men. All of the costumes and aesthetic details contribute to creating such a rich world and well and truly immersing the audience in the story. Authentic music from the 1970's is scattered throughout the film with famous songs such as Delilah and the Bond theme song Live and Let Die making an appearance. Music is such a key part of American Hustle and there are many serendipitous moments when the perfect song is used to convey the mood and tone of a scene.
However, there are a few faults that prevent American Hustle from being a truly amazing film. Despite only having a runtime of just over two hours, the narrative isn't meaty enough to warrant this amount of time and the film begins to feel drawn out towards the end. This feeling predominantly stems from the fact that a number of scenes are too wordy and could've done with some editing. Furthermore, in order to understand all of the intricacies of a simple enough plot, you'll need to pay very close attention as the plot isn't explained as well as it could be.
Ultimately, American Hustle is a very funny and entertaining crime film with many talented performers performing at the top of their game. Whilst you can't help but feel slightly conned by the fact that a film with so much talent that promised to be a masterpiece falls short of this feat, you should still see this excellent film that looks set to win many awards.
The Hunger Games: Catching Fire (2013)
Turns up the heat!
Continuing the trend of superior science fiction sequels set by The Empire Strikes Back and Aliens, The Hunger Games: Catching Fire outshines its predecessor in every department. Whilst the first instalment was a solid offering, it had some glaring problems such as the pacing, the performances of some of the younger actors and director Garry Ross' use of shaky cam. Thanks to the introduction of new blood in the form of director Francis Lawrence,these problems have been dealt with and as a result, Catching Fire is a darker, bigger and more exciting film.
The film begins with heroine Katniss Everdeen dealing with post traumatic stress, which has manifested itself since her and fellow tribute Peeta Mallark's victory in the 74th hunger games. Katniss' troubles are compounded by the fact that she is under increasing pressure from the ruthless dictator President Snow,to continue to publicly put on the act of being a star-crossed lover, in order to put an end to the unrest caused by her act of defiance in the previous games.
This situation is further complicated by Katniss' feelings for hunk Gale, creating a classic love triangle. Now you may be forgiven for thinking that the film has all the hallmarks of a clichéd romantic drama for teenage girls. Thankfully the film's surprisingly sophisticated themes prevent this familiar nightmarish scenario from becoming a reality.
The political elements of the film contribute to its darker tone,as the societal implications of living under an authoritarian regime are explored unflinchingly. Public executions, torture and media propaganda are all showcased in surprisingly realistic fashion for a 12A, with the presence of stormtrooper like enforcers, adding to the parallels with Nazi Germany. These themes are building very competently towards a civil war type scenario.
There are some outstanding performances in Catching Fire from both older and younger actors. Once again, Jennifer Lawrence steals the show as one of the most compelling female protagonists of our time, proving that she can handle indie and mainstream expectations. Male lead Josh Hutcherson gives a far more mature performance this time around, with his and Lawrence's performances being complimented greatly by the work of veterans like Donald Sutherland, Phillip Seymour Hoffman and Jeffrey Wright. However,the most underrated performance in the film and indeed the franchise,is Woody Harrelson's portrayal of mentor Haymtich. Harrelson brings all the laughs in the film thanks to his impeccable comedic timing, preventing audience members from becoming overwhelmed by the film's darker more serious themes. However, Harrelson's performance shouldn't simply be classed as comic relief, as his portrayal of a fatherly protector to these two young people is also great.
The few problems the film has predominantly stem from its action sequences and special effects. Whilst some effects like the poisonous fog and the explosions were excellent, other effects were lacking slightly. As mentioned previously the action sequences were much better this time around in the absence of shaky cam, however I still felt unable to fully engage with the human combat and found one fight with monkeys, to be utterly ridiculous. The remaining problems Catching Fire has lie in the decision of the director and the writers to not explore certain themes further. This is hardly a significant criticism, but it still would've be interesting to explore Katniss' PTSD further and to have seen more of the media circus, particularly since Stanley Tucci expertly portrays a materialistic talent show host.
Ultimately, The Hunger Games: Catching Fire is a much bigger, more adult and dramatic film than its solid predecessor. This second instalment has well and truly cemented the franchises place in pop cultural history, with its excellent cliffhanger leaving me ravenous for the next instalment.
The Last of Us (2013)
Naughty Dog's Latest Is The Finest Of The Generation 10/10
When The Last Of Us was first announced I knew it would be a cut above most games but I didn't know it would be this good! For me Naughty Dog has had a flawless track record, with Crash Bandicoot, Jak and Daxter and Uncharted all possessing unique qualities. However, The Last Of Us manages to raise the bar set by all of these games, setting the bar for video game excellence, as we head into the next generation.
The story is an absolute masterpiece, with the best voice acting in the industry on display. It's this voice acting from Troy Baker as Joel and Ashley Johnson as Ellie, that gives this story all of its emotional weight and therefore, its momentum. Troy Baker does an excellent job of portraying a man on the edge, who's wiling to do anything to survive and to protect those that he cares about. However, it's Ashley Johnson who steals the show, perfectly portraying a badass teenager whose had to mature fast in order to survive. The relationship between these characters develops beautifully, providing you with an unparallelled sense of attachment to the characters. This relationship, is partly shaped by these two characters encounters with fellow survivors, with all the supporting cast doing a brilliant job, particularly Nolan North. Last but certainly not least, the score is by an academy award winning composer and it shows, as this is the finest soundtrack for any game and is an integral part of the story.
The gameplay is pretty similar to that of Uncharted, with refinements made to the shooting system, which ensure that all your shots register. The crafting system is excellent, giving you incentive to explore in order to better equip yourself for upcoming engagements. These engagements are unparallelled in video game history, as engagements with the infected create a real sense of fear and your ability to advance in the story, is determined by how you choose to engage enemies. Clickers and Bloaters are the toughest enemies and the freedom to choose between stealth and aggression, is much appreciated. Graphically, the game is stunning, adding that extra bit of realism to proceedings, as you get swept up in the environments. Finally, the most impressive gameplay feature is the dynamic speech. Whether it be conversations between Joel and Ellie about ice cream and whistling or Ellie telling you that you nailed an enemy, all of the dynamic speech contributes greatly to your investment in these characters, highlighting how Naughty Dog continues to innovate effectively.
Ultimately, The Last Of Us is a masterpiece and Naughty Dog should be commended for showing the world that the gaming medium can be considered art, just like the movie and TV mediums. The unprecedented voice acting, story and fear on display, all contribute to a beautiful game which opens in cinematic fashion and which ends, boldly and beautifully. The Last Of Us differentiates itself well from other story's in the over-saturated zombie genre, making it a must buy and the game of the generation.
Game of Thrones: Mhysa (2013)
Summers Span Decades, Winter Can Last A Lifetime And The Wait For Another Season Lasts Forever 9.5/10
Whilst not quite continuing the show's streak of masterpiece episodes, the season 3 finale is a well written episode, that moves the pieces into place for season 4. The episode visits every principle character, gauging many of their contrasting reactions to the horror of the Red Wedding, whilst wrapping up several season 3 arcs nicely.
The episode starts by dropping you right back into the horror of the Red Wedding. The decision to show the wolf's head attached to Robb Stark's body was wise and necessary, as it was a reminder of what a brutal world Westeros is and served to give the middle finger to animal rights activists, who can stomach the massacre of humans but not the murder of a CGI animal!
Pod's reputation as a top stud has begun to spread, as he passes two women he's clearly boned before, on the way to calling Tyrion to a small council meeting, after Tyrion had bonded with Sansa. Charles Dance was brilliant as Tywin throughout this whole sequence, first sending Joffrey to bed before wisely informing Tyrion that a crown doesn't give you power. Tywin's admission that he wanted to cast Tyrion into sea at birth was cold, as well as being brilliantly acted by both Dance and Dinklage. Later on, Tyrion and Cersei's dialogue about happiness and children, was great at exploring the layers of Cersei, which were evident when Jaime returned.
Bran's company took shelter in the Nightfort, with Bran telling a story that addressed a problem I forgot to mention last week. The story about the rat cook emphasised the importance of guest right, informing us of the severity of the atrocities committed at the Twins. In a crowd pleasing moment, Sam and Bran met up in a touching scene in which John Bradley did a superb job of convincing us of the concern Sam felt, at the prospect of his friend's brother heading North of the Wall.
Roose Bolton and Walder Frey had a fantastically written and acted scene this week, as they devilishly embraced their respective positions. The dialogue about Robb's "pomposity" to which Roose responded "Forever young" was chillingly brilliant. All of this, led to the "shocking" reveal that the torturer is Roose's bastard. Although the show intended for this to be a shocking reveal, viewers had to have been pretty passive not to have noticed the numerous references throughout seasons 2 and 3, that eluded to this fact.
Ramsey and Theon had an awesome scene this week, which began with Ramsey eating a penis shaped sausage, that had me convinced that he was eating Theon's junk. Iwan Rheon has done an incredible job of portraying Ramsey as a sick and twisted savage human being, which was again evident in this particular torture scene.
The long awaited return to the Iron Islands, saw a great juxtaposition between the initial horror and the concluding hope. Theon's penis is delivered to his father in a small box. The conflict between Yara and her apathetic father was great here and ended in Yara promising to rescue Theon, in a refreshing departure from book canon.
Despite my reservations, Shae's scene with Varys was surprisingly worthy of inclusion. Shae's decision not to accept Varys' offer of a new life, has set in motion some very interesting developments that will occur in season 4.
Arya's awesome badassery was in evidence this episode. Moving her coin assassination to this stage in the story was fully justified, as we saw just how badly recent events had impacted on her. The Hound killed the other Frey's in devastating fashion, allowing him and Arya to continue on a fascinating journey, in which they're united as killers but distinguishable by their different motives for killing.
Jon's story took an interesting turn when he was ambushed by Ygritte. Despite Harrington's inconsistent acting, Rose Leslie managed to save the scene by displaying the whirlwind of emotions that Ygritte is feeling perfectly. Jon getting shot by three arrows was excessive but, I'm glad to see that they didn't omit a crucial development in their relationship. Sam's return to the Wall brought with it the return of good old Maester Aemon. Highlighting the class difference between Sam and Gilly was at first amusing but now it's like the show feels the need to hit us over the head with it. Whilst Jon's reunion with Sam was heartwarming, the scene was undermined by the fact that it felt too much like a particular Lord Of The Rings scene.
Unlike with Sam and Gilly, Davos and Gendry had an interesting conversation about class, as we were given a revealing glimpse behind Davos' background. The scene in which Stannis debated whether to follow Davos' or Melisandre's advice, was very cliché, as it was the classic devil on one shoulder angel on another scenario. Davos' decision to free Gendry remained consistent with Davos' character, which is a thing that the Walking Dead struggles at. Stannis' anger upon discovering this was well conveyed by Stephen Dillane, in a scene that foreshadowed Stannis marching on the Wall, which is the most exciting thing that this episode set up.
Now onto the final scene. The first season we had the Dragons, the second season we had the White Walkers, the third season we had..... an advert for giving aid to Africa. The whole sequence of the slaves lifting her up, with the questionable music and that ridiculous aerial view, just made the scene feel like an advert for African aid or a Live 8 concert and I half expected to see Bono or Bob Geldof in the background. This scene didn't match the standards that this incredible show has set, yet despite that, you better believe that every day between today and the season 4 premiere will be painful!
Best Quotes: Roose Bolton: "Forever young." Tywin Lannister:"You really think a crown gives you power?" Arya Stark: "Valar Morghulis."
Game of Thrones: The Rains of Castamere (2013)
Replicates The Horror Of The Book Devastatingly Well 10/10
I had many doubts entering this episode that they wouldn't be able to do the Red Wedding justice..... I was wrong! Despite a few very minor issues, the Red Wedding was translated perfectly onto the screen, in the best episode of season 3.
I had three criticisms of this episode that ultimately prevented it from being a better episode than Blackwater and Baelor in my eyes. Firstly, whilst Michelle Fairley displayed Catelyn's grief brilliantly, I would've liked to have seen her react in the way the character did in the books. After, a pregnant woman has been stabbed multiple times in the fetus, a grief stricken mother clawing at her own face wouldn't have been as outrageous as the showrunners feared. Secondly, it's comforting to know that today's society can cope with a human massacre, but still finds the massacre of a CGI animal too much to handle. Finally, I'm well aware of HBO's budgetary restrictions but regardless, they didn't do a good job of convincing me that three guys no matter how badass they're, could've sacked an entire city!
Now on to discussing the largely unparalleled brilliance of this episode. Despite only having one scene, I unlike many others, found Sam's portion of the episode necessary. Sam and Gilly are heading off towards the Nightfort which may have seemed unimportant, but actually did a good job of foreshadowing next week's events and an encounter with a very mysterious figure. Also, I loved it when Gilly called Sam a wizard, as this was a great callback to Sam's wizardly aspirations that he outlined in season 1.
Jon and Bran who are two of the show's most inconsistent characters especially in Bran's case, had a great interlinking story this week. Jon's split loyalties were finally brought to the forefront this week as despite his best efforts, he was faced with the task of killing an innocent man. I thought that Harrington's acting here was his best to date as we saw him make an agonising decision, that culminated in a brilliant action scene. Jon's line as he finished love rival Orell was appropriately badass and rounded off a well done fight scene. I also thought that Rose Leslie did a great job of portraying how betrayed Ygritte felt at that moment. Meanwhile, Bran was sitting painfully close to Jon, in an episode that may as well have been given the tagline of so near, yet so far. Bran's warging abilities were on full display here, as he warged into Hodor in a particularly tense scene, before warging into Summer and saving his brother's life. Bran's story, was rounded off by the poignant departure of Osha and Rickon, which was well acted by both and saw Rickon talk properly for the first time in ages.
Despite my earlier criticism, I again found the story of Daenerys very compelling this week. Daario, Jorah and Grey Worm's fight with the guards of Yunkai was one the best in the show's history, due to the way it expertly dealt with displaying the contrasting fighting styles of the three. Despite the fact that I loved the irony of Jorah lecturing Barristan on honour, I found the final scenes of this plot line to be the most interesting. The look of dismay on Jorah's face as he realised that Dany only cared about the safety of Daario was priceless!
Now lets close off with the shocking events in the Riverlands. Arya and the Hound has some fantastic back and fourth dialogue about their respective associations with death, as the thought of a family reunion became too much for Arya. I loved in particular the scene where Arya convinced the Hound to spare an innocent man, before the Hound asked if he was the master assassin Arya spoke of. This was very funny and was followed by some more humour at the Twins where Walder made jibes about Robb's wife and indicated to Robb that he could've had "that", when the beautiful Roslin walked out. The humour was rounded off by the Blackfish grimacing at the sight of Walder's other daughters looking at him, with this example showing how the writers and the director did a brilliant job of masking the imminent massacre. The massacre itself was very brutal, with the stabbing of a pregnant Talisa compounding the misery that book readers already felt. Roose Bolton is probably one of the most accurately cast characters in the show, with his chain mail stunt and killing of Robb asserting his position as one of the main villains in the saga. Despite all of these positives, it was Maisie Williams as Arya who made this sequence so shocking and brilliant. Her horror as she became aware of what was unfolding was one of the saddest moments in TV history.
Ultimately, this was another masterpiece episode for Game Of Thrones, upholding the tradition of episode 9 in each season being the game changer that sets the standard for other shows to aspire to.
Best Quotes: Roose Bolton: "The Lannisters send their regards." Sandor Clegane: "Is that him?" Jon Snow: "You were right the whole time."
Game of Thrones: Second Sons (2013)
Best Episode Of Season 3 So Far 10/10 (Spoilers!)
The writing for this show is of exceptional quality on a weekly basis. However, the writing for Second Sons was on a whole new level, showing that Benioff and Weiss know how to write fantastic scripts. The quality of the script is largely the result of the sensible idea to focus on three main plot lines this week, rather than the usual broad focus of the show (which is by no means bad).
The episode started with Arya poised to bash a big rock over the Hound's skull, only for her to realise that she probably couldn't kill him if she tried. This led to a brilliant scene of dialogue in which the Hound spoke of men worse than him who Arya could've ended up with, revealing the Hound to be another of the grey characters that inhabit a universe where there is no true good or evil (except for Joffrey).
Tyrion and Sansa's wedding in Kings Landing was the perfect mix of awkwardness and humour. Two death threats were issued in which, Cersei threatened to strangle her "sister" Margaery in her sleep (before owning Loras) and Tyrion threatened to chop Joffrey's cock off. Joffrey certainly deserved this for his antics in this episode alone, as he removed the stall Tyrion needed to cloak his bride and threatened to rape Sansa once Tyrion had passed out. Finally, Tyrion spent a large portion of the ceremony drunk, leading to an awkward scene with Tywin in which Tywin advised his son that he was too drunk to seal the marriage sexually. Dinklage played this to perfection, with Tyrion promising never to force himself upon Ssnsa, leading to the memorable line "And now my watch begins", when Sansa ruled sex out.
At Dragonstone Melisandre brought Gendry before Stannis, prompting an interesting conversation about the secret sacrificial of lambs, as Gendry was unknowingly about to become part of a ritual. It was Gendry's proposed sacrifice, that motivated Stannis to free Davos (who's up to toddler level reading). This resulted in a brilliantly written scene in which Davos correctly assumes that Stannis freed him at that precise moment, because he knew that Davos would counsel restraint in regards to Gendry. After a brief discussion about wealth, Melisandre began to have sex with Gendry, who incorrectly assumed that some kinky stuff was going on when she tied him up. Of course, her plan was to tie him up and to leech him (one was on his penis), in order to demonstrate her power to Davos, with Stannis casting them into the fire (reciting the names of the 3 usurper kings). The moral of the story here was don't accept sex with a random stranger in Westeros, as it signals bad times for your penis (Gendry this week and Theon last week).
Outside of Yunkai, Daenerys had an audience with the three mercenary captains of the Second Sons, elaborating on how they couldn't possibly defeat her army. This prompted a great line from Jorah when he said "The Second Sons have faced worse odds and run" and a pleasing promise from Barristan to kill the crass Mero in battle. The Second Sons then had a perfectly valid debate about the differences between whores and mercenaries, before the camp Daario was chosen to kill Daenerys. This led to the one flawed scene of the episode for me, when Daario crept into Daenrys' camp with the heads of the other two captains, swearing his allegiance to her. As a reader of the books I know that what happened was accurate. However, I would've liked to have seen the show change it so that either Barristan or Jorah killed the captains and I also, took issue with Daario pledging his heart to Dany after just meeting her.
Finally, the episode ended with Sam killing a White Walker in epic fashion. However, before that we had two great moments of dialogue between him and Gilly, where Sam recalled childhood traumas whilst trying to come up with baby names and the difference between a wink and a blink was debated. This culminated in a fantastic action sequence, with the White Walker coming to steal Gilly's baby, before Sam rescued her. The CGI and effects for this sequence were fantastic, once again pushing the boundaries of what TV is capable of.
Best Quotes: Tyrion: "I'm the God of tits and wine" Mero-Jorah: "The Second Sons have faced worse odds and won" "The Second Sons have faced worse odds and run" Olenna Tyrell: Messed up family tree bit.
Firefly (2002)
A masterpiece that was prematurely cancelled
For those of you who thought that the blend of science fiction and western wouldn't work, think again. What Joss Whedon has created with firefly is a memorising universe, sprawling with wonder and beauty. The western planets and cultures fit seamlessly into the galaxy, while the western dialogue and Chinese swearing provide evidence of the creative genius of Whedon and highlight why the show has achieved cult status among so many. The characters of the show all have intriguing personalities, from the feisty mechanic Kaylee to the psychic River, to the mercenary oaf Jayne, all are fascinating in their own right. However Nathan Fillion deserves special praise for his portrayal of the conflicted captain Malcolm Reynolds, who embodies everything Whedon's set of characters are about. Whedon has certainly succeeded in his aim to show nine very different characters looking into space and each seeing different things, as we experience the highs and lows that each of the characters do throughout the season. Most of the credit should really go to Whedon for succeeding not only in mixing together two supposedly incompatible genres, but for creating a visually stunning show, with witty scripts, plenty of humour and great characters. How was this show ever cancelled?
Sherlock (2010)
Britain's greatest TV achievement
For those of you who thought that a modern adaptation of Sherlock Holmes wouldn't work, think again. The BBC have truly struck gold with Sherlock and with the greatest actor to ever take on the iconic role, Benedict Cumberbatch. Sherlock is a very intelligently written show that keeps the viewer in total awe of upcoming events, to stunning effect, whilst managing to emotionally engage the viewer also. Many of the classic Holmes stories have fitted seamlessly into the modern urban environment and Steven Moffat must be credited for this truly stunning piece of work. Martin Freeman is fantastic as the noble sidekick John Watson and he and Urna Stubbs's Mrs Hudson provide many moments of comic relief, which are much welcomed when the plot becomes overbearing. Andrew Scott deserves praise for his unique portrayal of the insane and very camp Jim Moriarty. However it's Cumberbatch who really raises the standards of the show with his stunningly accurate portrayal of the emotionless, enigmatic and utterly intelligent super sleuth that is Sherlock Holmes. Ultimately Moffat has created the greatest crime drama on TV, with its witty humour ,plot based narrative, unpredictable events and utterly brilliant main protagonist. Who said that the British couldn't make good TV?
The Wire (2002)
The TV event of a life time
For those of you who assume that the wire is just your typical crime drama you couldn't be any further from the truth, it's a passionate exploration into the various institutions of one of the great cities of America. This stunning exploration mainly focuses on the never ending battle between law enforcement and drug dealers, but over the course of the shows history the docks,the declining education system and the corruption within the media come under great scrutiny. All of this contributes to the creation of one of the most compelling dramas produced for TV, that paints an accurate picture of some of the trials and tribulations faced by members of American society today. The script writing is of a far higher quality than any other show out there, and quotes like "You come at the king you best not miss" and "If I here the music I'm going to dance" showcase the talent of the scriptwriters associated with the show, as well as HBO in general. Throughout the course of the show characters like the rebellious Jimmy McNulty, the gangster businessman Stringer Bell, the slick and smooth Lester Freeman and the iconic drug dealer proposition Joe, all give the viewer ample reason to invest their time in this impeccable piece of work. However Michael Kenneth Williams brilliant portrayal of the sociopathic, shotgun wielding gangster Omar Little deserves special praise. Omar not only manages to steal the limelight from some of the other incredible characters portrayed on the show, but manages to be the best character in film and TV history, which will become apparent to you once you watch the show. Overall the wire is an engrossing morality tale, that manages to provide an in depth insight into the workings of the various institutions in society, something that hasn't been attempted by any of its rivals. David Simon and Ed Burns must be commended for this excellent piece of fiction, that once again gives credence to the belief that HBO makes the best TV shows in the world. Believe the hype you won't be disappointed!
Game of Thrones (2011)
An addictive adult fantasy series
For those of you who love fantasy watching game of thrones is essential, and for the stereotypes who view fantasy as a tale of magic and princes, thrones will change your ideas completely. Game of thrones is an epic fantasy with an incredible character driven narrative and set against an epic backdrop of violence, nudity and sex. It's essentially a tale between 7 feuding families fighting for dominion over the mythical land of Westeros and the fascinating struggle for power that ensues. The plot is full of twists and turns that makes for a compelling drama, that is set in some of the most stunning locations witnessed on TV. Breathtaking location like the frozen fortress of the Nights Watch and the rats nest of a capital that is Kings Landing, provide the viewer with plenty of eye candy, whilst confirming this shows status as the most ambitious piece of work ever to grace TV. The production values and high quality script writing both contribute to the overall quality of the show, with quotes like "Try to penetrate the enigma that is me" and "Winter is coming" soon becoming common household phrases and typifying the quality of the people who work on the show. However it's the characters and actors who portray them, that make this show truly great. From the witty dwarf Tyrion Lannister played by the excellent Peter Dinklage, to the noble Ned Stark played by the legendary Sean Bean,to the feisty Daenerys Targaeryan played by the beautiful Emilia Clarke, thrones oozes quality in the character and acting department. Even some of the supposedly minor characters like the slippery informant Varys,the loudmouthed GreatJohn Umber, the mindless oaf Hodor and the infamous mercenary Bronn all manage to be intriguing in their own way, which highlights the vast array of unique characters thrones has. Thrones manages to keep the audience emotionally invested in its various characters, whether you are rooting for the honorable Ned or cursing at the scheming Lord Baelish,there is a character everyone can relate to. Overall thrones is a sophisticated adult fantasy that doesn't hold back, and HBO must be commended for their faithful adaptation of the a song of ice and fire series of books. The sheer gore and sexual activities encompassed in the series makes it a uniquely entertaining experience and not one for the feint hearted. Lord of the rings this certainly isn't, game of thrones reinvents the fantasy genre in a stylish sort of way, which is a credit to author George RR Martin and show runners David Benioff and Dan Weiss.