No matter how deep in space you are, always feel like you can see home. Don't you think? Maybe it's just me. Forgive the lighting; the lack thereof. A recent battle injury. There's nothing they can do if I want to keep my own eyes, and I do. I have to suffer light change slowly. I like to think it makes me mysterious." Now that we're fully aware of the characters, tone and direction of this series, the show decides to take a more mature route in its third instalment. To be honest, it has improved the quality even more, giving us an exciting mix of adventure, science and horror. All the elements work well together to create a new mystery that has expanded the content of the series so far from just simply an erratically-born war to the eponymous 'discovery' of new science. The inclusion of A-list actor Jason Isaacs is the extra bonus.
Sonequa has settled into her role nicely, with her character now known universally as the mutineer of Star Fleet, both revered and despised. There's clearly a feeling that her presence on the discovery is an isolating experience, but she quickly adapts to her new environment like the officer that she once was, and her ability to engage with either her equals or superiors without regret shows how powerful she is as a character. I may question the vague and almost amateurish approach to science, but the mention of her familiarity with quantum physics is context enough for the question of her intelligence. The new invention is science, however, has great potential. Whilst I've never once questioned things like Star Wars and Doctor Who for its seemingly outlandish disregard for the laws of physics, simply because they have in-universe explanations. Star Trek is demonstrating its own brand of explanation with these micro-particles that apparently make up the web of spacetime; meaning, by harnessing their power, Star Fleet can effectively use a method of teleportation for fast space travel. Michael's reaction is the spitting image of ours. Ignoring the capacity for such a discovery, it's a fascinating idea nonetheless, and it seems there are darker methods behind the mask if Lorca's mysteriousness is anything to go by. Generally, this episode had some effective visuals, and the sudden tone-change when the excursion arrived on the empty Star Fleet vessel was a great way to introduce a new threat, one that not event the almighty Klingon could overcome. Whatever these terrifying creatures are, their presence could mean the difference between Michael's loyalty to the Lorca or her loyalty to her self-persecution. Paul Stamets hasn't appealed to me as a character yet, but that may just be because he's quick to judge. This great third episode ups the tension from the first two as we start to explore the hidden world inside the Star Fleet organisation. It's nice to see Michael develop her character while also reminding herself of her betrayal to Captain Georgiou. There's still a lot we don't know about her, which can be perceived a good thing, but eventually we'll want to understand her intentions properly, and why Vulcan culture is such a taboo subject to mention. As a final note, I'd like to say that Mary Wiseman is wonderful as Sylvia Tilly, bringing a more realistic and comedic side to the Star Trek that has seemed too monotonous and non-risky so far. 8/10
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Sometimes to love someone, you got to be a stranger." There aren't enough superlatives for this work of art. Denis Villeneuve has crafted the impossible - a sequel that, in my opinion, transcends Ridley Scott's original visuals and Philip K. Dick's noir narrative, while catering to its own modern version of entertainment. I'm amazed how Villeneuve has succeeded in portraying a film with an old-fashioned agenda, whilst simultaneously appealing to the new generation. There's incredulous art in that. But there's a sense, with this long, complex and intellectually demanding film, that every shot counts. Every uncomfortable piece of imagery sets the futuristic scene for the proceeding conflict. And yet, nothing seems unoriginal - every scene has its own characteristic decoration; a prop or two that defines the local atmosphere. Most importantly, though, this new film continues the original story, with a number of references to the ancient history of this pollution-battered husk of California.
True to its origins, the film is riddled with cosmic scale, coupled hauntingly with a loud and unnerving soundtrack, reminding us of this almost autonomous society, where the progression in technology has superseded any recollection of humanity. There's a quote in the film where a replicant mentions that they have become more human than humans. Incredibly self-aware as this film is, it's story pays great homage to the original, by continuing the dark themes of questioning mortality. With its main character, it has constructed another complicated example of binary existence - a person who is unsure of their own identity. The intention with the original film is that it was constantly questioned whether Deckard was actually human, or secretly a replicant. Surprisingly, this film turns that argument on its head, and has a replicant wonder whether he is actually human, and not just a trained assassin with one mission in life. Without imposing too much on Scott's premise, Villeneuve has created some wonderfully beautiful parallels with the original. Characters from the original reappear, not just as cameos to attract and tempt the audience, but as well-scripted recurrences. Edward James Olmos, for instance, returns as Gaff to relay information about the location of Deckard's child, and reminding us of his connection with origami - potent symbolism for the internal memories of replicants. A similar form of memory reconstruction is used in this, with wooden toys. I like the use of wood, simply as it refers to humanity's negligence as custodians of the planet; a planet where its own vegetation and life-force has become a rarity. Even amongst the direct themes to the mortality of replicants, there are indirect nuances regarding the destabilisation of community and its accompanying common decency. Production-wise, I struggle to find fault. There are emphatic contrasts between the separate future communities; abandoned cityscapes bedded with sand adjacent to the bright, iridescent lights of the Los Angeles metropolis; old-fashioned cookers counterbalanced with holographic artificial intelligence. One of my favourite scenes has to be as K falls unconscious following a skirmish with the Wallace Corporation employees, and the camera follows Deckard's abandoned dog padding sorrowfully towards a broken window with a ship disappearing into the distance. There are so many examples of stupefying imagery whereby the production team have outdone themselves in scale and effortless imagination. Clever editing allows for bouts of silent tranquility, followed rapidly by a crescendo of sound - keeping the audience as disconcerted and alert as its characters. Acting was one area I was skeptical about when approaching the film. But, there was no need to doubt the casting. Everyone involved is totally engaged with the material and environment. Ryan Gosling naturally embodies the stubborn, combative and persistent Blade Runner that made Harrison Ford so endearing in the original. As he's barely off the screen, it's commendable to see him so easily capture our concentration. Robin Wright and Sylvia Hoeks both demonstrate their calibre of performance in their roles, equally fierce and authoritative. Hoeks in particular shows great promise as the new actress on the scene, giving us a villain we can truly hate. Above everyone else though, despite having less than half an hour screen time, it's Harrison Ford who gives his all. In a role that has already been established, it might seem like a piece of cake to portray Rick Deckard, but Ford adds many layers to his performance, giving depth to the feelings his character has experienced over the terrible years since 2019. A lot has changed him, and the events toward the end of the movie bring out his grittiest moments. There's one scene in particular that grabs your attention from the off. I'm still revelling in the majesty that is this film. Despite its length, it doesn't feel arduous or monotonous. Villeneuve has devoted enough time to capture the important content - the scenes that require extra notice to fully fathom their meaning. There's so much detail in the shots sometimes, that it immerses you completely in the world, similarly to its predecessor. Whilst nobody asked for this expansion of the Blade Runner world, this film provides good reason for you to see it. Meticulously dancing between meaningful conversations and violent encounters, there's no end to the entertainment, and the satisfying feeling of being pulled into another science-fiction world populated with the latest peaks of imagination. It is an unquestionable spectacle. 9.5/10 Charity starts at home." Due to the increase in popularity and the markedly larger budget this season, I was worried that the writers and directors of the series would feel obligated to avoid darker and more harrowing storylines. However, I'm proud of Daisy Goodwin for giving us a grim glimpse of the harsher sections of Victoria's history, where perhaps her rule was far more troublesome and uncoordinated. It seems Ireland is suffering famine due to major complications in economic infrastructure, and the Queen is anxious to send help. However, her Prime Minister is reluctant as it could put his party in jeopardy.
An episode that has the courage to cover morality is always in my good books. The story surrounding Dr. Traill is well envisioned and it gives us a bleak understanding of what the famine entailed, and how badly it affected the population. The show may not be able to depict the scale of the disaster, but the scene where the doctor stumbles across children around their dead mother is enough context to summarise its nature. Whilst we don't spend much with the doctor, we have enough empathy as the audience to understand his situation and why he has decided to help the poor Catholic people in their struggle to survive. We can clearly see that Dr. Traill is the martyr of this disaster, a man who put the saviour of suffering innocents before his faith and personal protection. We've had a lot of scenarios this season where Victoria has countermanded her own minister, but this was the most important, and one that may have defined her reign as someone who's far more progressive and open-minded when it comes to the suffering general public. The famous quote "Charity starts at home" was put to good use, in that the Queen convinces Sir Robert Peel to send aid, after demonstrating that some babies are dying because their mothers cannot provide them milk. The Queen's comparison of her own children was convincing enough for the Prime Minister to change his mind on the matter, regardless of the consequences to his party. As Prince Albert mentions, Sir Robert is a practical man, who stands for political integrity, but it takes the Queen's moral high ground to sway him. There were two smaller storylines also prominent in the episode - one which involved Miss Cleary, the new palace maid, who is personally connected to the famine outburst, as she belongs to a poor Catholic family, and has been using her employment at the palace as a safeguard for her family's survival. This is another example where the writers have shown Victoria's open-mindedness when it comes to the suffering of those in a capacity less than hers. Whilst unbelievable for a maid to be in the private presence of the Queen, it can be justified in this particular context. The other storyline concerns Prince Ernest, Albert's brother, who is suffering physically due to an illness. It is not quite clear what contagion he has suffered, but the fact that he keeps the details from his brother points to his own pride. We are left on a cliffhanger really as the Duchess of Sutherland, Harriet, returns to the palace following her husband's death. This is the same Duchess whom Ernest had been admiring for a long time while present at court. It's the final note of the episode that is the most important though, and similar to episode three, the emotional harnessing is the writer's strength. Saddening though it is, it's also humbling to see a kind man, who devoted his life to helping people, be buried after befalling death for helping those people in the first place. The final Celtic piece of music that ushers in his funeral reminds us that whilst Queen Victoria did attempt to make amends for her government's slow action to aid their cause, Dr. Traill was first and foremost Irish, and his independence from the monarchy was perhaps his defining trait. 8/10 You’re not gonna have fun if you analyze everything." With season three's record so far, it was almost inevitable that Rick and Morty's finale might suffer an anti-climax. It has been an incredibly dark, consistently sarcastic and self-aware season with a number of very notable moments that will not be forgotten quickly. The finale may not be up to the standard of the season premiere, Pickle Rick or Ricklantis Mixup, but it is not hindered when it comes to the comedy and heart. First and foremost, the characters are always addressed, and that is the key point in this finale. We've experienced a lot with these characters, and we've seen them progress from hilarious caricatures, to meaningful people with multi-dimensional personalities. This finale wonderfully addresses how Rick's long-winded machinations can sometimes backfire on him. In the premiere, he revealed his intention to ostracise Jerry from the family, but in the end, it's Rick's lack of mutual perspective that brings them back together again.
The episode starts with a request from the President of the United States to rid the White House basement of a nuisance creature. Realising their almost totally-obedient situation, Rick and Morty decide that they will pretend to continue the job, but actually return home to play virtual minecraft. This spirals out of control when the President, who has kept them under supervision, accuses them of dereliction of duty. The whole scenario is brilliant realised, and allows for a rapid succession of jokes both against the President and Rick. I particularly enjoyed Rick's subtle joke passed on by the Gargantuan species. It's amazing that this show can still produce very funny material from previously established storylines. As the mayhem of the White House invasion unfolds, the main storylines continues as Beth starts to have reservations following her adventure with her father last week. She is juggling perplexingly with the thought that she might be a clone and her real self is adventuring far and wide. Whilst the episode doesn't explicitly answer that question - leaving a gap open for a future reveal perhaps - it does ironically lead Beth back to Jerry as she relives her past emotions when they first met. So, inadvertently, Rick actually gives Beth the motivation to go back to her husband. It's interesting to point out also that Morty and Summer are quick to support their parents in protecting their reunion - regardless of whether Rick can find them or not. This addresses early on in the season as both kids suffered greatly in the wake of the separation of their parents. I like how the in-characters address the new situation in which they have returned to their 'Season One' selves. Rick may have attempted to separate the family because he feels Jerry interfere's too much in his voracious adventures. Even though Rick sometimes offers him respite, as in the Whirly Dirly Conspiracy, it still transpires that Rick and Jerry are both at each other's throats. This new setup may just be an old picture, but I imagine the tensions are going to be higher than ever, especially now that external forces could be attempting to attack their already complicated lives. The aftermath of episode seven certainly points to a darker future in which they could be in jeopardy from their own parallel personae. This season promised a lot, and delivered a lot more. As the fourth season wait begins for what could possibly be the longest hiatus yet, as Mr. Poopybutthole mentions, we look back at the open storylines that could be making a return appearance. Evil Morty is definitely top of the anticipation list as his takeover at the Citadel means everything in this Rick and Morty Universe. But there are also other small references , such as Tammy's resurrection of Birdperson as Phoenixperson; Jerry's possible hidden agenda; whether Beth is a clone or not and so on. Questions that may purposely be misleading, but connected to possible future concepts nonetheless. As always with shows like this, it's a matter of being patient and giving the writers enough time to create intelligent work. The finale may suffer by allowing the action to take a back seat to emotion, but this is still top quality television with extra sass. 8.5/10 Season Overall: 8.5/10 Why are we fighting? We're Starfleet. We're explorers, not soldiers." A mild improvement on an already decent sci-fi show. The second instalment amps up the excitement, space and political rivalry. Its greatest achievement though, is fleshing out its main character with a clear past and a realistic motive. The role of the Klingon is even expanded, to give us newbies a chance to understand their culture a bit more, but also the scale of their species, not to mention its general consensus in attacking the Star Fleet. In short, their pride is absolute, and under fire they would do anything to uphold their honour as inter-galactic warriors. The inevitable space battle may seem a little tacky in the science-fiction world, but for television, it's nothing bad at all - the proceeding is quite threatening at times, especially when the admiral's ship goes up in flames.
Concentrating on Michael, I didn't mention in my last review how charismatic Sonequa is as an actress. Her Walking Dead character may be a subtle basis for this character, but her role is far more demanding here. She conveys her emotions very well, especially in that final scene as the show offers up its first casualty. Her character is interesting, and still mysterious enough for the audience not to predict her next move. Her current situation may be dire and seem impossible of reconciliation, however seeing as she has friends in high places who have acquired a bit of leverage, she may not be permanently incapacitated. The story around her clash of cultures, and Michael's temptation to lean towards Vulcan traditions, may still be vague at the moment, but they are a fascinating element of the show so far, and gives us a hint of the Human race structure, what with their multicultural alliances with other species. Also, Michael's suppressed hatred for the Klingons, because of her parents' deaths, seems to be the main motivation for her rash actions. Whilst the characters appear to be making stupid mistakes, they can be justified by their psychological mould. It's also great to see the consequences of the Captain and Michael's two-man mission to capture T'Kuvma, ending in his death. Despite, the character only being present for two episodes, his reputation and image as a martyr, following this encounter, will very probably be the driving force of this series' conflict. Science, as always, is a difficult concept to envision on screen, and whilst there are some inaccuracies and unbelievable scenarios, the general vision is astounding. I liked the fact that Michael's imprisonment box reacts to half of the Star Fleet ship being demolished and cast out into space by reinforcing the containment field around the destroyed area. Convenient for a main character, yes, but futuristic nonetheless. Also, whilst the shots are moving at rapid speed, the design and architecture of the spaceships are pretty cool to look at, and just alien enough to feel original. My one, consistent gripe about the two episodes so far is that the story has been isolated in one location, and the repercussions of the events in the binary system has not been fully realised in the outside Universe. It was hinted that all the Klingon factions came together in the system due to the number of the ships that exited warp space, but apart from a few holographic communications, the audience doesn't get a glimpse of the full reaction. Hopefully, as we follow Michael's story into further territory, we'll start to expand our knowledge with the Universe, and we'll be on track to understanding how monumental this skirmish has been for the political landscape of Star Trek. 8/10 It's a good day to die." There are a number of problems with this movie before it has even begun. With an incredibly revealing trailer, most of the plot has already been divulged before we've seen any of the main characters. The opening scene takes us back in time to the devastating moment in Courtney's life when her carelessness leads to her sister's death. This is the morbid basis for a very depressing and convoluted movie trying too hard to address the question of mortality. There are some rare and disparate moments of good-quality filmmaking, but the third act is particularly lost in its own land of pseudo-science. Whilst a lot of the events that happen in the movie can be attributed to hallucinations, a lot of the effects are so extravagant that the element of the unknown disappears.
I'd like to start with the positives. Ellen Page, an actress everyone will remember from Inception, is quietly confident as the aspiring medical student, who's haunting past encourages her extra-curricula investigation. She steals every scene, and her character's demise is psychologically damaging. Credit to the director, this scene quickly transformed the movie from a science-fiction thriller into a horror drama, and Page pulls all the stops out to portray a frighteningly tormented woman who's shocking death is the most gripping moment of the entire two hours. It's just a shame this was followed by another half hour of miscellaneous insanity. The music, whilst not always prominent, was quite effective at building the tension, but by the end, that wasn't often. Whilst the movie looked grand and beautiful in its psychedelic scenery, the point was quickly lost. Never mind the afterlife, the writers may have been indulging too much in the depiction of beauty, rather than the rational possibilities of a brain suffering asphyxiation. The science may have been present in diagnostic and revival scene, but as one character mentioned within the film's context, it was all pseudo-science in the end. Marlo's perspective in the afterlife was the best example of the production going overboard on its use of the unknown. If they'd kept the effects and visionary to a minimum, the final product may have been a little more mysterious, and a lot less chaotic. My main problem with the film is its incapacity to write its characters. A lot of the time, they are very quick to assume things, almost as if the writers are trying to intentionally push an agenda. But, in general, the characters are very unlikable. Candid, rash and uncharacteristically stupid. They don't suffer any consequences, despite all the rule-breaking they've committed, and because we're concentrating so much on them, the rest of the world is forgotten about. This doesn't help the fact that the afterlife story is unbelievable already. Whilst there was so much emphasis on what the characters saw, the explanation was not as thorough, meaning that by the end of the movie, we lack any understanding of what's just occurred. Simply put, a messy plot, filled with inconsistencies and errors of character. I haven't seen the original, but I imagine it has a similar story. The premise of flatlining has its interesting propositions, but inevitably - because this is something unknown in the scientific world, and often ridiculed - there's no standing in whatever is depicted. Despite a strong lead performance from Ellen Page, and a nice cameo for Kiefer Sutherland, the rest of the film is riddled with overcomplicated scenarios with morality and mortality attempting to combine to create non-existent threat. The conclusion is particularly unsatisfying. It's a shame, because the horror genre had a reawakening of a sort in this film, and there are some genuinely creepy moments, even if they're nonsensical in the story's perspective. 6/10 Your human tongue is not the problem, it's your human heart." Before I begin this review, I'd like to point out, guiltily, that I have never watched Star Trek before - not even the films. I have always been a Star Wars/Doctor Who fanboy and have never once thought of being a Trekkie, or even watching some of the old repeats on TV. So, this review comes from the perspective of someone who is entirely new to this concept and Universe. Interestingly, this is a prequel, so hopefully I won't have much trouble jumping on the story, but if any references or homages pop up, believe me, they will sweep over my head without notice. Apart from "we come in peace" of course.
From the first seconds of the show, it's clear that the budget is monumental, giving us a visual richness that I highly doubt has graced Star Trek shows before. The grand landscapes and glittering space is wonderful to look at, and the science and astronomy behind it, being an astrophysicist myself, is pretty prominent in the narrative. The binary system looks and is described correctly, with references to the accretion disk adding to the feeling that the writers have done their research. However, there's always a dramatic license when it comes to space, and I always question when it is not shown as a hostile place. Regardless of scientific accuracy, the story is very intriguing, giving us introductions to the USS Shenzhou and its crew, and a battalion of Klingons who have disguised themselves in the orbit of a binary system. The story predominantly concentrates on the events surrounding the ship's discovery of a Klingon ship, but there are also hints to First Officer Michael Burnham's troubled past, in which her parents were killed by the Klingon. Whilst this is a good way of developing our main character, there's not enough to constitute a full introduction yet as we're heavily involved in a diplomatic situation towards the end of the episode. The interactions between characters, especially Michael and Saru are great banter, but the script is dripping with corny lines. Unfortunately, this can take away the seriousness of the scenarios, especially when it comes to Michael disobeying an order from her captain to destroy the Klingon ship before they can make the first move. The conflict between the officers is interesting, especially as it's hinted that they are close. It's also interesting to see a new take on the morality of violence and how the relationship between Vulcans and Klingon was built on the fact that the Klingon respected their opposition for their strong attacks. Whilst the tone may suffer in places, and lose respectability, the director does his best to create a atmospheric situation. Michael trip through space with a jet pack was wonderfully shot, and actually gave the impression that she was flying through space. I also loved the opening scene between Michael and Philippa as they traversed a desert planet in search of a well - it gave me the notion of a science-fiction such as Star Wars, Stargate or Dune. However, most of the episode was set inside, on the deck of the Starfleet spaceship, which has its limitations. If only the script had a little filing, especially in terms of flat jokes (something that I'm never a big fan of), then the episode might have appeared more exciting and threatening. The Klingon scenes were fine, it's just that as a newcomer I'm liable to be blind to their intentions and motivation as a species. Their language sounds wonderfully guttural, but their culture and general traditions are lost on me for the moment. Why were they hiding in that binary system for one question? 7.5/10 Smart people get a chance to climb on top, take reality for a ride, but it will never stop trying to throw you, and eventually it will." This penultimate episode feels a lot more like a Season One episode, especially as we're delving into the background story of Rick's own daughter, Beth. The tone is far more vulgar and depressing this time around too, giving us another serious look at how Rick's miraculous creations have caused real-life distress and disaster. But, this time, it seems Beth has made the biggest faux pas - Rick may be indifferent to his daughter's mistakes, but we see an element of her father in Beth here, which is more revealing than anything else. Perhaps, his influence on her is more far-reaching than we first assumed. Unfortunately, as the writers decided to feature a more subdued, life-is-unfair narrative, they lost a lot of momentum early on.
The premise is brilliant as always, introducing us to Froopy land, a place designed by Rick for his daughter's perpetual enjoyment as a child - a place that regressed in her mind to imaginary. But, there's also a dark story behind the place, which was catalysed by Beth's abandonment of her childhood friend, Tommy. This resulted in him creating his own society after mating with a local sentient species - spiralling into a cannibalistic civilisation that worships Tommy as its ruler. Vulgar and blatant though it is, the story mirrors that of real life in which his actual father is accused of eating him in explanation for his disappearance. Rick and Morty has touched on dark plot lines before, but this may take the biscuit as the most disturbing conundrum yet. What Beth does to resolve this incredibly complicated and seemingly impossible predicament is beyond words. It's clear that she commits genocide in Froopy land, including killing Tommy, and returns his finger for Rick to create a clone. What ensues is a particularly savvy sequence of events that leads up to Tommy being returned to his family and his father being saved from execution for a crime he didn't commit. in typical Rick and Morty style, it tells a million stories in a short minute clip. This is where the integrity of the show lies, in which the writers merely need a few expressive scenes to describe conclusions. It's the final father and daughter discussion that has the most meaningful content though - with Beth considering cloning herself in order to escape the humdrum of life. Rick's openness to performing the cloning is typical of his indifference to the normality. Perhaps the most meaningful conversation they've had in the entire show, and yet it contains the most disturbing tease yet, in which we will now question whether Beth is the original her or just a clone in disguise. The main plot line was coupled with a return to form Jerry, who is at his old tricks again, making a mess of the Universe with his incompetence, cowardice and severe lack of consideration for his own kids. Shacking up with an alien known as Kiara (something like that), in a semi-revenge against Beth, who is also an obsessive huntress, Summer and Morty finds themselves dragged along in the flawed relationship, in which they perform ritual hunts in order for Jerry to train his telekinesis and perhaps form a decent relationship in the process. The jokes may be a recycled form of Jerry's complete ignorance to boundaries and his capacity for the extreme, but the revelation in which Kiara was actually using Jerry as rebound hit the nail on the head regarding Jerry's entire existence. The show has definitely become more self-aware this season, and I liked the fact that Rick mentioned his tendency to have an adventure with Morty more than anyone else. Also, this episode had one of the best post-credits scenes yet, in the simple form of messages on an answering machine. But, because it has touched on many of these themes thoroughly already, it can seem repetitive of the writers to revisit past narratives for derivation in new ones. The concept beyond Beth's imaginary world was originally conceived, but the reliance on both Rick and Jerry's opposing personalities as the catalyst for the stories was less than inspiring. Nevertheless, the effort that goes into creating this hundred mile-an-hour script is always at the forefront, and it is consistently a joy to watch and hear. 8/10 We're here to do business, not to judge them." Victoria takes an interesting detour to address the international relationship of the monarchy and also to repair the bonds between Victoria and Albert that have been broken since their traumatic experiences. Victoria has gained new momentum in her acquisition of knowledge to better serve her country and to gain the political skill that she has always needed. Prince Albert, on the other hand, is still suffering from the shocking new he received from his Uncle Leopold about his true origins.
The political spectrum has been pretty null and void in this series so far, and it's nice to finally at least mention the consequences of marrying and allying with the wrong people. As usual, Victoria is willing to be unconventional in these matters and sends a direct message to Louis Philippe, arranging a personal meeting. Whilst always loyal to his wife, Prince Albert is less than enthusiastic about the trip, considering the reputation of the French as being rather blaze about their fidelity. Their visit is riddled with complications, especially when Victoria feels self-conscious about her appearance compared to the French Court ladies. There were a lot of small details to treasure this episode. Dame Diana Ring as the Duchess was delightful as always, spouting brilliant insults at the country she claims to be godless. Her delight at returning to England to enjoy a familiar meal was wonderfully observed and acted. Albert's self-portrait was a great bit of introspection for his internal conflict about the nature of his heritage. Also, Victoria taking along her bag inscribed with Dash's name was a nice touch and reminds us that despite her ability to accept her losses, Victoria still remembers those who matter to her. Unfortunately, the story becomes distracted by whatever Daisy Goodwin has planned for Lord Alfred and Drummond. There have been a lot of hints about a taboo relationship between them, but that is all. Equally, Prince Ernest's presence is only minimal, and I'm starting to lose the thread of his role in the story, except as a shoulder for his younger brother. The script is also quite sloppy concerning some of its characters, concentrating far too much on formalities rather than proper interactions between dignitaries. I did, however, like Albert's final, convincing story, whether it was a successful convincer or not. Lavish in production, Victoria has never held back on its appearance and decor. The royal palace in Paris looks wonderful and all the costumes are incredibly extravagant. There's no doubting the effort is creating the perfect scenery for its many characters, and the attention to detail in traditional French customs must be commended. I doubt this will change as the series continues, but I do hope we concentrate more on the larger picture plot-wise, instead of rediscovering the characters in troubled situations. The character development is good, but too much and we're left in the dark about the actual history of this time. As an aside, Jenna Coleman has no need for make-up to improve her complexion. 7.5/10 Manners... maketh... man. Want me to translate that for ya?" Kingsman: The Golden Circle is as bombastic as its predecessor. Prodding the line of incredulity at an alarming rate, Matthew Vaughn continues to demonstrate his talent for action flare and relentless comic humour. Whilst maintaining the British image of etiquette and a good dress-sense, the introduction of an American equivalent makes for a series of new jokes, predominantly aimed at the Anglo-American relationship. The tie-in music sums up that partnership beautifully as we traverse between Britain and the US, making fun of both nations with equal sincerity. What makes the Golden Circle even more relentless than its predecessor though is its scope and breathtaking cast. Without the astonishing calibre of cast, I highly doubt this feature would've got off the ground.
What the film does well is setup another world-threatening power by almost completely wiping the slate on Kingsman. Pretty much everyone who was part of the team initially is blown away in the first twenty minutes of the movie, leaving you feeling a little shell-shocked. But, Vaughn has enough class and skill to keep you laughing, even in its darkest moments. Dinner with the Swedish royal family is particularly a high-point in the comedy spectrum as Eggsy attempts to progress his heated relationship with Princess Tilde. But this passionate relationship is threatened when the world is struck by a strange epidemic and Eggsy and Merlin, last remaining members of Kingsman, are forced to adhere to their American cousins, the Statesman, and form a lasting bond to defeat the new rising menace. That menace is in the form of Poppy, a nostalgic psychopath who harkens to the 50s era. Played indescribably by Julianne Moore, there's no doubt you're in for a wild portrayal early on, especially as she's taken Elton John captive as part of her 50s entertainment. Moore's performance balances a creepy love for the old-fashioned landscape with a dark and deluded love of bloody violence as she churns up a former member of the Golden Circle in a meat grinder. Vaughn never shies away from the gritty violence and sometimes needless gore, but it helps to portray Poppy as the maniacal power that she is - devoid of conscience or mercy. Her pet robotic dogs are evidence enough of her sheer strength and intelligence. The story is widespread that it can sometimes veer wildly around the world to separate locations. But, as it progresses, it never fails to keep the past in mind. Colin Firth's welcome return as Harry Hart is explained succinctly and well, even if extraordinary technology plays a part in his revival. His obsession with butterflies is great way to show how amnesia has affected his mind. It takes Eggsy's fake attempt to shoot a puppy to recover his sound intellectuality in the agent field. His contribution in the film is immense, and the film is written so well, that even as the break-neck speed of the plot continues, character development is never let down. Eggsy and Harry's relationship continues to blossom as if they had never been separated. Channing Tatum and Jeff Bridges are also welcome additions to the world of Kingsman, even if their roles are short-lived. Tatum brings a typical American character and adds an ounce of comedic license to his performance, just for show. Bridges may be playing a character he's played many times before, his screen presence never falters though. Halle Berry's appearance may be underused, but the script has enough space to give her a chance to shine alongside Mark Strong, and hopefully her legacy will continue in a third film. It's Pedro Pascal who makes a large impression in the film though, playing a supposedly good Statesman, known as Whiskey, on the outside, but with an alternate motive inside. He provides a lot of laughs throughout, and his skill with a "skipping rope" make him almost the action anti-hero. I'd like to pinpoint Mark Strong as a highlight in the film who plays Merlin with just as much class and well-mannered integrity as in the first. As a good friend to Eggsy and a stalwart and loyal member of Kingsman, his brains are often the only way of escaping trouble. His final scene is possible the highlight of the film, in which he sacrifices his life after Eggsy mistakingly steps on a mine. His rendition of Take Me Home, Country Roads will always be remembered as one of the greatest send outs for a character ever. Considering all the losses Eggsy had in this film, I'm surprised he wasn't even more emotionally degraded by the end. Action plays a prominent role in Vaughn films and this no exception. Nothing beats Colin Firth's church scene in the first Kingsman, but there are so many battles to watch, one even in the first minute of the film, that it's like one long rollercoaster. The expert camerawork is like a piece of art - the way he can visualise an action scene simply through the perspective of weapons and constantly rotating around the fight makes you feel completely exhilarated. As usual, there's no holding back on the violence as people are impaled by giant scissors, thrown through car windshields, split in half by robot dogs and a lasso, not to mention shot, shot and shot again. Even the end result of the potion from the drug misuse is pretty gory to see. In terms of missteps, the only thing that I perhaps riled over was the perhaps mildly misogynistic scene in which Eggsy sexually implants a tracking device inside a woman at Glastonbury. In a film as busy as this, it's extremely impressive that there was a chance for Elton John to gain the crown for most hilarious character as he swore in abundance, high-kicked a security guard and squashed the head of a robot dog with a bowling ball. The writers even had a chance to jibe at the President of the United States by having him impeached. Poppy's demise may have been anti-climactic, but by then you're so satisfied with the story up until then that it becomes null and void. The most satisfying thing is that the end of the film teases a possible further sequel as Tequila arrives at Kingsman in London, possibly to pick up a new assignment. Whilst it doesn't quite make the comedy genius and timing of the first film, the Golden Circle is most definitely still up there with one of the great action flicks. Holding up with the visually breathtaking special effects, it's beautiful to watch and gains a lot of praise for its balance of relentless action with emotional interactions. In my opinion, another win for Vaughn, and another additional flick to add to the collection of great films this year. With Get Out, The Circle, Logan, It and Wind River, they're mounting fast. Nothing has come close to Dunkirk though. 8/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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