AdamW

AUSTRALIA


Joined August 6th 2007

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Let me just get this out of the way straight away. I enjoy Star Trek. Allow that concept to sink in for a moment. When pressed, I say I prefer it to Star Wars. Always have. Whereas most kids have fond memories of growing up with George Lucas’ galaxy far, far away; I was lost in the final frontier. I didn’t even see Star Wars: A New Hope until after I was already into all things Trek. Although I did love SW, and enjoy both of the two sci-fi series; it’s almost like Elvis and the Beatles (you can like both, but always one more than the other).

Trek is more intelligent, and there are more than three good movies in the franchise. Plus, there aren’t any Muppets, or Jar Jar Binks.

But for some reason, it has never quite captured the mainstream audience the way SW has. Whereas SW has crossed over to the general public, and appeals to kids and adults alike, ST still remains pretty much an underground cult phenomenon, despite having been around for 42 years. The average Joe on the street backs away when you say you’re a Trekkie. I remember the days of having to hide my Trek mags and books under my coat to avoid being bashed up by Neanderthals at school. It’s time for a change.

Next year sees the release of director J.J Abrams’ (Lost, Fringe, Alias, Felicity, Mission Impossible 3) high-budget movie reimagining of Star Trek. He’s taken things back to basics. No Next Generation or shiny gold androids, or bald Frenchmen captains (with curious English accents). No Barbie Borgs with large assets. It’s back to the original series, baby. Kirk and Spock. Funky retro aesthetics. Expendable redshirts. Every self-respecting sci fi fan knows that the original Trek is where its at. Over the years, much like Star Wars, the greatness of the original was overshadowed and diluted by reams of inferior sequels (and prequels. The SW prequels really weren’t a patch on the originals, whilst Enterprise really was not up to par as a Trek series). The fanbase became factionalised and fragmented. It’s time for a comeback.

I’m hoping this can be the movie to do it. If anyone can bring Trek to the mainstream, Abrams is the man. The movie needs to bring in a wider audience, and not just target the hardcore fans, because they alone aren’t enough to bring in the numbers at the box office. The film features a new, younger cast (including Heroes’ Zachary (Sylar) Quinto as Spock), a 150 million dollar effects budget, and a director who is a self confessed Star Wars fan. Hopefully this means that we’ll see more excitement and action in this one; more…epicness. Trek needs to feel big again. Unfortunately, the previous couple of movies felt like little more than glorified TV episodes with a slightly longer running time. I yearn for the days of great Trek films which were just good movies in their own right, like 1982s The Wrath of Khan. Trek used to be exciting and , for lack of a better word, ‘cool’.

Purists are going nuts on the Net forums. ‘Abrams is raping my childhood’, ‘The new Enterprise bridge doesn’t look exactly like it did in the 1960s version. I’m so gonna boycott this film’, ‘Who are these imposters? Where is William Shatner?’, etc. It’s like the reaction to Episode One all over again. I’ve accepted that this film isn’t so much the eleventh Trek movie, but a re-do of the whole saga, much like Casino Royale or Batman Begins. And you know what? Both of those movies, despite the concerns of naysayers, turned out to be pretty damned awesome. If a return to the drawing board, a proverbial ‘reboot’ or clean slate turns out to produce a good movie, I’m all for it. Reboots are kind of inevitable, really. It happened to Battlestar Galactica. It happened with Superman. And I’m sure that when George Lucas departs this mortal coil, we’ll get reimagined Star Wars. Clearly the Enterprise bridge isn’t going to look like it was made in the 1960s. It will look like a high budget 2008 film production. Trek for a long time was a slave to its own canon. It became more about connecting the dots between the various series than in producing quality stories. I must confess, being a big Bond fan, when I heard CR was going to be restarting Bond from scratch, I thought it was a bad idea. But I was very pleasantly surprised by the eventual movie. I’m hoping the same philosophy can work for this movie (simply called ‘Star Trek’, with no subtitles, or numbers). The film is being made for fans of movies, not just Trekkies. An injection of Star Wars style space battles and suspense could be exactly what Trek needs to hold its own in the 21st century. This film could be the one to bring back the feel of the original series, to return to what made the show such a phenomenon in the first place.

I still have a few reservations, though. The bitter aftertaste of Enterprise is still in my mouth. That series tried too hard to pander to the casual TV viewers, most of whom wouldn’t give any Star Trek show the time of day, no matter how different it was. Is Abrams fighting a losing battle? Is it just too late to make Trek relevant again? My brother thought that the publicity stills released so far for this remake look like a ‘cheap fan film’. If his attitude is indicative of all Gen Y teens, then Trek 2.0 may be dead in space before it even leaves drydock. The film will need good marketing, and good word of mouth if it wants to catch on the box office. Otherwise, we may not be seeing any new productions in the longest running US science fiction saga ever for a long, long time. (I said ‘US’ because the BBC’s Doctor Who, also similarly revamped recently, has been running for longer)

Secondly, even many ex-Trekkers seem to have gotten bored with some of the latest lacklustre offerings, and moved on to other shows (like nu-Battlestar Galactica, Heroes, Firefly, Buffy, Angel, Dr Who, Stargate SG 1) which satiate their taste for quality SF. Will this one be enough to court them back to the ailing franchise?

Also, I hope Abrams doesn’t make it unrecognisable as ST. Obviously, the formula needs to be changed to some degree (its what made it turn stale to begin with), but if he changes too much, it may just be a generic sci fi movie which happens to feature the USS Enterprise and Kirk and Spock. Improve the recipe, cut out elements that weren’t working, and try new flavours if necessary, but don’t toss the baby out with the bathwater. Although I suppose Trek really doesn’t have anything to lose by this point. They may as well go all out to make something new and different. As long as the heart of Trek remains there amidst all the FX and action, I don’t mind. The Star Wars prequels failed to recapture the magic of the originals because they just felt… soulless and empty. It was like a two-hour toy commercial, or a videogame on the big screen. I hope that doesn’t happen to this film.

Abrams has brought franchises back from the grave before (like MI 3), and he certainly knows what its like to produce a show with a fanatically loyal cult fanbase (Lost). So I trust him to know what he’s doing. We’ll see if he delivers the goods next May. Make it so!

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Quantum of Solace- review

November 24th 2008 11:48
Quantum Of Solace-Review

Since before the age of twelve, I can remember being utterly besotted by the outlandish cinematic escapades of 007. My first Bond was Timothy Dalton in ‘The Living Daylights’ (1987). And as such, I still to this very day, don’t get the fan hate directed towards his portrayal. I thought Dalton was a good Bond, personally. The first time I saw the cinematic classic ‘Goldfinger’ (1964) was on TV in a French hotel room at the age of 14. Of course, the film was dubbed into French and I understood very little of it, but the images alone were enough to capture my undivided attention. The naked, dead, gilded girl; the bowler-hatted cronie Oddjob; the famous laser sequence; all are part of popular culture and cinematic history.
I can recite lines from any Bond script at will; can tell you who performed the title song from each; and could have a fair go at telling you how many actors have played CIA agent Felix Leiter in the series. That’s how hardcore a fan I am. However, towards the end of the Brosnan era, there was definitely a sense of ‘been there, done that’ to the franchise, that even this dyed in the wool devotee noticed. It was time for a change, a rather drastic change. Bond has always been able to adapt itself to suit the times. It is for that reason that the films will probably survive, and continue to produce new outings, for many years to come. The early films were made at the height of the Cold War, and as such, the Russians were often the antagonists. The Moore era, likewise, felt very much at home in the post-Watergate escapist entertainment period of cinema, cultimating in 1979’s answer to the success of the Star Wars (1977) saga, ‘Moonraker’.
2006’s ‘Casino Royale’ brought Bond into the twenty-first century, making him able to compete with upstarts like Jason Bourne and the Mission Impossible films. The film brought the character back to basics, and removed all the familiar trappings of the series (volcanic island hideouts, Q’s gadgetry, whimsical one liners, etc.). Amazingly, this risk paid off. The film could have sunk the franchise if it wasn’t warmly received by fans, but thankfully it was awesome, and the best Bond film in many years. The eagerly awaited ‘Quantum of Solace’ picks up minutes after its immediate predecessor leaves off. Embittered and driven by revenge for the death of his love Vesper Lynd, Bond kidnaps the sinister Mr White and learns of the existence of a powerful international crime syndicate called Quantum. (The producers couldn’t use Bond’s old nemeses SPECTRE, due to an ongoing lawsuit) Heading to Haiti, 007 soon becomes involved in a plot to disrupt Bolivia’s water supply.
The film is a non-stop action rollercoaster, and moves at a breakneck pace. It’s much shorter than CR (Just under two hours long), so the action is very tight and fast moving. The second unit director from the Bourne Identity movies was employed for QOS, which explains a lot. The fights are very gritty, and Bond isn’t portrayed as an invincible muscleman, but a fragile human being. Craig portrays a Bond who walks a very fine line between intelligent and suave; and thuggish hitman. He is undoubtedly the best Bond in years. He carries the dramatic weight of the revenge-filled script very well indeed. There are some very impressive instances of action direction in QOS, including a rooftop chase in Sienna, Italy, a shootout at an opera house (filmed very similarly to Hitchcock’s 1950s remake of ‘The Man Who Knew Too Much’ ) ; and a plane chase (again, similar to Hitchcock’s ‘North by Northwest’ (1959))
Marc Forster, a filmmaker who usually chooses projects that are based around character drama, like ‘Stranger Than Fiction’ and ‘Finding Neverland’; was a very unusual and unexpected choice of director. He handles the dialogue scenes quite well, but falls a bit short when directing action sequences. It’s a similar scenario to 1999’s ‘The World Is Not Enough’ when documentary filmmaker Michael Apted (the 7 Up series) directed Pierce Brosnan’s Bond. Actually this film has a few elements of ‘The World Is Not Enough’ in it (oil pipelines, boat chases, a larger role in the story for M) but fortunately QOS doesn’t feature Denise Richards (ha!) as a NUCLEAR SCIENTIST! (Silliest Bond moment ever, IMHO). QOS also feels a little bit like 1989’s ‘License To Kill’ (Bond goes to South America on a personal vendetta, etc.)
The story is not short-changed. There is a compelling story at work here, penned once again by Oscar winning scribe Paul (‘Crash’) Haggis. Not only does bond go on a globe-hopping adventure, but there is some real dramatic meat to his character in this film, much like in CR. The greatest relationship in this movie isn’t actually between Bond or any of his famous Bond Girls, of which there are a few, but between Bond and M (played impeccably by the great Judi Dench, once again). There is an almost maternal mother/son bond (hehe!) between them. And the rapport between 007 and French agent Rene Mathis (and CIA agent Felix Leiter) is quite good, too.
After going for a terrorist angle in CR, QOS turns its attention upon environmentalists. Bond lives in a world where the moral boundaries are so thin, you could cut them with a scalpel, a world where major world governments will turn a blind eye to exploitation of small countries if they get a share of the rewards. Bond has always been entertainment, first and foremost, not political commentary; but QOS is definitely recognisable as a film of this era. This is definitely set in post 9-11 society. There’s a good moral dilemma for Bond in this picture, as well as an action film. He is searching for his ‘quantum of solace’ (his measure of comfort, of inner peace) after losing faith in a world gone corrupt and mad.
At the end of the film, Bond confronts Vesper’s former flame in Russia, and surprisingly leaves him alive. He displays mercy on the man who led to his lover’s death. Finally able to forgive Vesper for betraying him, he drops her Algerian love pendant in the snow. He has found his quantum of solace.

Fleming purists may enjoy QOS for its gritty atmosphere and greater character focus. Old school Bond movie fans will probably find it rather too humourless and sombre. CR fans might be disappointed, because QOS is a very different story (a revenge narrative, rather than a love story), and contains much more action and violence than its immediate forebearer. I enjoyed it very much indeed, and applaud the new direction the series is taking with Craig’s Bond.

I do still miss Q and Moneypenny, though. Hopefully, they’ll be back in the next one.

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Retro Review- Buffy season 6, episode 7 'Once More, With Feeling'


Thank God for DVD. One can delve into programmes they haven't explored in several years. Or get into ones they never caught in their first run(I still need to get the Firefly DVD box).

Season 6 of Buffy is the textbook definition of polarisation. There is simply no middle ground. Fans either loved it for its noticeably darker edge, and greater instrospective character focus (I'm in this camp, by the way). Or they loathed it for its lack of humour, and the depression of all the characters.

But even the naysayers can agree that the musical episode Once More, With Feeling was a marvellous hour of television. Whenever series creator Joss Whedon does an episode based upon a gimmick (like the dialogue free 'Hush'; the dream episode 'Restless', or the music free 'The Body') the gimmick doesn't define the episode. Rather, the plot serves the characters, not vice versa.

The songs in OMWF are all wonderful, and they actually advance the characters and the story. That's one of the many things I loved about this (much-missed) show. Even standalone eps like OMWF have subtle links to the ongoing seasonal arc. All of the songs reflect the inner turmoil of the character's psyches (Buffy's ennui with life; Xander's fear and insecurity about his upcoming nuptials; Giles' need to leave Sunnydale and let his Slayer fight her own battles; Tara's love for Willow). The latter is tragic, considering what happens in the very next episode 'Tabula Rasa', and in the succeeding episodes of Season 6.

The cast are surprisingly quite good singers. Everyone gets their little moment to shine (even Alyson Hannigan, who by her own admission cannot sing, but gets the hillarious line 'I think this line's mostly filler!'). Sarah Michelle Gellar carries much of the singing weight of the episode, with several numbers to her credit (Going Through The Motions, I've Got A Theory, Walk Through The Fire, and Something to Sing About). James Marsters gets a nice little slice of rock-balladry, whilst Anthony Head gets to show off his singing talents with the lovely 'Standing'. Amber Benson is very impressive, too. Michelle Trachtenberg doesn't get to sing much, but gets a nice ballet number (I had a bit of a crush on her when the episode originally aired in '02. Oh, shut up! She's only three years younger than me!)

Wonderful stuff, and one of the highlights of an already bloody brilliant show. OMWF has everything. Drama, humour, romance, action. During the more emotional moments, such as the finale in Sweet's lair, with Buffy's admission to her friends that she was yanked out of heaven, I found myself weeping. And I'm a guy! That's the effect this show had (and still has) on me.

Joss, you're one of the good ones, mate.
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The Simpsons Movie- review

October 8th 2008 00:58
Review- The Simpsons Movie

After sitting through the long-awaited cinematic debut of America’s favourite yellow animated family (the programme has only been astonishingly running non-stop for the past 20 years, accumulatively producing over 400 episodes) the other night, my thoughts are much the same as Homer’s. ‘Why pay to see something at the cinema when you can watch it at home for free?’ , he opines at the opening credits. Indeed


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Flags Of Our Fathers- review

September 27th 2008 04:54

Clint Eastwood crafts intelligent, multi-layered, thoughtful movies which defy genre. ‘Mystic River’ transcended the status of a mere crime thriller. ‘Million Dollar Baby’ was so much more deep than ‘just’ another boxing movie. ‘Unforgiven’ dissected the myth of the Western, and presented the grim reality of the situation.

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Doctor Who review- Silence in the library

September 10th 2008 01:06
Review: Dr Who

Exceptional. I cannot think of another word which sufficiently sums up what I thought of this stunning two parter from the able pen of Steven Moffat, the same creative mastermind who brought us some of this series best episodes to date (including the impressive Empty Child/The Doctor Dances two-hander; the superb Girl In The Fireplace; and the masterpiece known as ‘Blink’). I am very relieved that Mr Moffat is assuming the producer’s reins after current showrunner Russell T Davies abdicates following the end of this season. I can’t think of a better man for the job. Russell T Davies is the textbook definition of polarising fans. Whilst his episodes are occasionally brilliant, he also unfortunately falls into the trap of overindulging in his excesses. In short, his scripts can be a tad on the campy side


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One of the many things I loved about this show when it originally aired (and still do today) is that it takes so many risks, creatively. It was a bold and potentially fatal risk that creator Joss Whedon took when he followed up season three's exciting, nail-biting two-parter 'Graduation Day' with an introspective surrealist character piece called 'Restless' to close out season four. I really respect him as an artist, for trying something different. He never delivers what audiences expect to see. Most primetime TV dramas do not dare to modify the formula much, lest they lose their audience (generic cop shows like CSI, Law And Order, I'm looking at YOU!) Having finished off the season's main story arc in the penultimate episode, with the expected big budget, stunt-packed crowd-pleaser 'Primeval'; here our attention turns towards a low-key reflective piece (which draws upon both where the show has been so far, and gives tantalising hints of what is to come in future seasons). The risk paid off, because 'Restless' is not only, along with 'Hush', one of the finest episodes of the fourth season; it is arguably amongst the finest crop of episodes this series produced in its entire run. The episode features great performances from the principal cast, and some great direction (including extensive handheld camera work). It shows off the impressive sets nicely. Each of the four core Scoobies (Giles, Xander, Willow, Buffy) gets their moment in the sun. And, having discovered Tony Head's singing talent in the earlier season four outing 'Where The Wild Things Are', the producers show off his skills for the third time this season (but not the last time in the show) in the witty Exposition Song. If you want to know what this episode means, you'd have to ask Whedon himself, because it is admittedly very abstract. But it's a fantastic journey inside the dreamworlds, and hence the fears and insecurities of our Scoobies. And it's great to see old faces again, like Principal Snyder in Xander's dream, performing in a magnificent paraphrasing of Willard's first meeting with Colonel Kurtz in 'Apocalypse Now' (1979). Or Harmony, and Olivia, neither of whom we've seen in a while. One other awesome thing in this show (one of many awesome things, in fact) was that the seasons were so well-defined. There aren't many shows where you can tell apart the first season and the fifth season. In many dramas, the episodes and the seasons all blend together. In this series, there is no status quo. Each season has its own self-contained arc, which nevertheless contributes to the greater whole of the series. And each season has a different foe to face, and often a major cast shuffle. Life is like that. You aren't in the same place, interacting with the same people, year after year. Life changes. And there is so much foreshadowing, that it is impossible to tell if it was all planned in advance, or was just an extraordinary set of coincidences. Even if it was the latter, it all fits together so well. Joss was an auteur, not just a TV writer. I miss him terribly, and I wish him luck in his upcoming new series 'Dollhouse'.
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Wow. I never cease to be impressed by this all-round brilliant episode from one of my favourite television series. I was amazed when I first saw it in 2000, and I remain amazed in 08 when I rewatched it on DVD last night. This series, and this episode especially, has lost none of its potency in those eight years.

After being critically praised for his snappy dialogue for years, series creator Joss Whedon crafted an episode which takes place mostly bereft of spoken language. The story is told predominantly through visual means, and with the help of Christophe Beck's excellent and chilling musical score. Ever since Janet Leigh drove down that midnight highway and saw the Bates Motel neon sign flashing, to the strains of Bernard Herrmann's bone-chilling violin score in 'Psycho '(1960), or when the Star Destroyer swept majestically over the planet Tatooine to the fanfare of John Williams' inimitable soundtrack in 'Star Wars' (1977); I have paid close attention to the way music adds atmosphere to film texts


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Enchanted- review

May 27th 2008 08:06
I am a man of many contradictions. And as such I am not afraid to admit my love for Disney movies. Sure, you can tell me they're Americanised, mass-produced, marketing tools. But I have a soft spot in my heart for them. Especially the classic 40s and 50s films.

Enchanted was a breath of fresh air. A nice return to family entertainment and innocent movie fun; before everyone in the world seemed to turn cynical and needed to see graphic violence, nudity, swearing, etc, in every single movie which is released


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Atonement-review

May 21st 2008 08:24
This was a phenomenal movie. I had not actually read; or indeed heard of the source novel before seeing the filmed adaptation (for shame. And I call myself well read!), so I had little idea about what I was about to witness. I only had a vague knowledge of the storyline, because of the media blitz which accompanied the film's arrival in theatres (not to mention the huge buzz it received at the awards season this year).

Without giving too much away, this is essentially a metafictional tale of sorts. It is about stories themselves, and how we misinterpret, exaggerate, and alter details of situations we witness. A young girl, Bryonie, living on a very pleasant and exquisite-looking English countryside estate in 1935; witnesses what she considers from her 13 year old perspective to be a sexual attack, or a rape, on her sister. In fact, the incident she witnesses is quite consentual. She reports the young man to the authorities, and her innocent mistake leads to the protagonist's (James McAvoy) downfall. He goes to jail for four years, and is paroled in 1940 on the condition that he join the war effort in France


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Recent Comments

Yeah, MyLittleMansAnIdiot, very well said.

I think if you can't find at least one episode of Buffy, Angel, or Firefly that makes you feel, laugh, cry, get excited, or affect you on some emotional level, or at the very least entertain you; you don't have a soul.

No shows before or since has had such an impact on me.
I really hope Joss makes a return to TV writing soon. I think thet's where he's at his best. I hear he's working on Ripper (the Giles spin-off) at the moment. I hear, in the wake of the massive success of Dr Who and Torchwood, the BBC is interested in sci fi again.

Comment by AdamW
on First Impressions- Torchwood

August 28th 2007 03:07
Yeah, I've since seen a couple of other episodes, and just don't feel any motivation to watch any more. I've been sorely disappointed by Torchwood so far. It's like a soap opera, not a sci fi series. Too reliant on being 'edgy' and 'sexy'. I think the show somewhat overdoes that. By trying to look adult and cool, it just comes across as juvenile and adolescent.

I like the new Who, though.

Adam