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 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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