Doctor Who Series 11 Review (Episode by Episode)

Everyone's got an opinion on this one don't they? Suddenly, Doctor Who was back in the public interest thanks to the casting of Jodie Whittaker as the Thirteenth Doctor. The first female actor to play the role, even non fans seemed eager to share their opinion on the casting choice, all without Whittaker uttering a single line of dialogue yet. But that wasn't the only change to come for the show. With both Peter Capaldi and Steven Moffat leaving at the end of the tenth series, new head writer Chris Chibnall took the reigns and a new era of Doctor Who was set to begin. Joining the new Doctor were companions Ryan Sinclair (Tosin Cole), Graham O'Brien (Bradley Walsh) and Yasmin Khan (Mandip Gill). The series premiere last October drew a record audience for a new Doctor in the modern series, and the show continued to gain favourable viewings throughout it's run. Here, I'll be going through my thoughts on each episode in order of broadcast:

1. The Woman Who Fell to Earth

The series got off to the best possible start with this episode. Introducing us to the three new companions, as well as Ryan's nan and wife to Graham, Grace (Sharon D Clarke). When a mysterious crater arrives on earth, our new companions quickly encounter an unknown alien threat. Their lives are saved by the newly regenerated Doctor, who is struggling with amnesia. The perpetrator is eventually revealed to be  Tzim-Sha (nicknamed "Tim Shaw" by the Doctor), a Stenza warrior sent to earth to hunt for a human "trophy". Whilst the character and plot are almost directly taken from the Predator film series, I still enjoyed this new villain, especially the design. The pacing of the episode was also well handled, with the Doctor appearing only after we've been introduced to the new characters. The emotional ending was also very effective, and immediately implemented one aspect I was desperate to see in Doctor Who: treating death seriously. The trend of Doctor Who's modern era was to kill characters off or tease the audience with prophecies that important characters will die. This always amounted to characters either not being killed off, or just brought back to life with cheap writing. At the end of The Woman Who Fell to Earth, Grace dies after trying to aid the Doctor. We see the impact this has on our new heroes, and her death becomes a key character point for Graham and Ryan's relationship. I was very impressed with the episode overall, and is my favourite in the series.

2. The Ghost Monument
After the cliffhanger ending to episode one, the Doctor and friends find themselves caught up in an intergalactic race. Soon, they are left stranded with the final two participants on a desert planet, with the finish line of the race being the Doctor's TARDIS. After the excitement of the first episode, this one was definitely a decline in quality. Whilst the episode looks fantastic, with the new visual effects team showing off their new budget, the story is very slow moving and the threat non-existent. We are introduced to new robots called the Sniperbots, who are the equivalent of Star Wars' Stromtroopers, as they can't aim to save their lives. The encounter with the Sniperbots does lead to one humorous scene for Ryan, who blindingly runs out to face them based on his experience playing video games ("Call of Duty, man. I've got this!"). The ending reveals the new TARDIS design, something I always look forward to seeing with each new era. The console room now has an orange and blue colour scheme and crystal like pillars, giving it a very unique look. I felt like this episode was geared towards revealing the TARDIS at the end, which was cool to see, but the story and lack of a villain let this one down.

3. Rosa 
The Thirteenth Doctor's first encounter with a historical figure comes in the form of Rosa Parks (Vinette Robinson), who's act of defiance helped influence the US civil rights movement. The episode deals with many issues, most prominently racism, as we see the attitudes of the Alabama residents to not only Rosa, but Ryan and Yaz as well. On a mission to stop Rosa's influence on history is intergalactic thug Krasko (Joshua Bowman), who attempts to manipulate Rosa's journey to refusing to give up her bus seat to a white passenger. I liked the creativity of the final scenes, where the Doctor and co. try to undo the meddling of Krasko, such as changing the bus times and blocking the road. We also spend a lot of time with Ryan and Yaz, and their reaction to the racism they face back home. Whilst it's important to address these struggles, I feel as though too much time was spent on it. We don't need long exposition when showing this is much more impactful. The scene when Ryan is slapped for trying to help a white woman is shocking, but that's because it shows us how horrible it is rather than explaining everything to us. Krasko is an OK villain, but he's easily defeated and lacks a menacing presence. Thankfully, the big moment when Rosa refuses her seat is played perfectly, with a neat Doctor Who twist thrown in involving Graham. 

4. Arachnids in the UK
We're back to the present day, in a possibly intentional nod to series one's structure: episode one in the modern day, episode two set in the future, episode three set in the past, and back to the present for episode four. This episode allows us to see the effect travelling with the Doctor has had on our companion's lives, especially Graham after the loss of Grace. But their moment of reflection is cut short by the arrival of giant spiders across the nation, with a sinister link to American hotel owner Jack Robinson (Chris Noth). The episode focuses mainly on Robertson and his employees, which means any action involving the spiders takes a back seat. There are some well done moments of tension, however, especially with Ryan and Graham attempt to catch one of the spiders. Like the previous episode, the villain is one of the weaker aspects. Very one dimensional and verging on becoming a parody of a particular US President. The image of the spiders crawling along to grime music is possibly the dumbest and most hilarious moment of the season, so I guess I can award points for that.

5. The Tsuranga Conundrum
AKA, the one with the Pting in it. Yes, Doctor Who's latest terrifying creature is a small, chubby alien with a ridiculous name. At least it's memorable, unlike the plot. It starts out well enough, with the Doctor and co. encountering a landmine whilst on a space junk-pile. Beamed up to a hospital spacecraft, the TARDIS team, staff and patients soon come under attack from the Pting, which feeds off energy to survive. With the lives of everyone on board at risk, the Doctor must figure out a way to rid the ship of it's pest before they arrive at their destination. The problem with The Tsuranga Conundrum, apart from the obvious mentioned above, is that there's too much going on in such a short time. Weird male pregnancy subplot, weird brother-sister relationship problems and the silliest monster since series two's Abzorbaloff running amok. It's episodes like this where it's embarrassing to admit being a fan of this show, and certainly not one to show anyone who may have doubts about the show's quality. Nothing really to recommend here, apart from some good set design.

6. Demons of the Punjab
After back to back sub-par episodes, I was really hoping Demons of the Punjab could give this series a much needed boost. Thankfully, it did just that: introducing us to Yaz's past family members as well as some cool new monsters with an interesting twist. It was about time Yaz was given more to do, and here we see her struggle with finding out the history of her family. In 1947, as her future Nan, Umbreen (Amita Suman) is set to marry Prem (Shane Zaza), mysterious demons appear and disrupt the happy occasion. Soon, the Doctor learns there is more than just the presence of aliens that could cause problems, as the partition of India is set to unfold and Prem's brother Manish (Hamza Jeetooa) opposing the marriage. The family drama is played out really well, especially the fractured relationship between the brothers. The design of the demons, later identified as the Thijarians, is the best looking monster of the series. The motivation of why they have arrived to the wedding was unexpected, but added a nice difference. Ryan and Graham are downplayed, but this episode was right to focus mainly on Yaz, and is the best episode since the series' opener. 

7. Kerblam!
"If you want it, Kerblam it!". A parcel arrives for the Doctor, along with a note calling for help. Never one to refuse, the TARDIS team arrive at the factories of Kerblam!, where the parcel and note were sent from. Going undercover as new workers, Yaz meets employee Dan (Lee Mack) and grows suspicious of the "TeamMates": automated workers who keep everyone in check. After a series of disappearances, the Doctor confronts manager Judy (Julie Hesmondhalgh) and gets to work on finding the culprit responsible. There's obvious commentary here on retailers valuing artificial intelligence over human employees, which is done in an effective manner by showing the flaws of both sides. But the episode also has fun with its setting and characters, especially with the casting of Lee Mack. There's lots of exciting set-pieces, too. Kerblam! also scores points for showing the impact a character's death has on a particular individual, something which always seemed lacking in earlier series.

8. The Witchfinders
Talk about a wasted concept. The Witchfinders might be the most frustrating episode of the series for me. It started off well: arriving in a small town with potential witches put on trial via drowning, the Doctor begins to suspect something more sinister is afoot. Encountering his royal highness King James (a scene stealing performance from Alan Cumming), the TARDIS team soon discover the true nature behind the witch hunting, resulting in a disappointing, generic climax. The episode could have kept its sinister tone intact by not explaining the threat, with the evil being something perhaps even the Doctor can't fully explain. Turns out, it's just aliens. The heroes say some sci-fi nonsense and the threat is defeated as quickly as they were revealed. Such a shame. Alan Cumming has fun, and there's a nice quip from Graham at the end, but other than that, this episode left me feeling cold.

9. It Takes You Away
Building on from last week, the penultimate episode of series eleven attempts to give us a spooky, mysterious tale. The difference is, this episode does it much better than The Witchfinders. The Doctor and co. arrive in present day Norway, where a girl named Hanne (Ellie Wallwork) is terrified of creatures stalking the surrounding woods. With her father missing, the Doctor makes it her duty to protect Hanne, all whilst trying to discover how her father has suddenly vanished. Unlike the previous episode, It Takes You Away runs with its sci-fi heavy plot throughout its run-time, making for a much more consistent tone. I really liked the revelations and character building moments for Ryan and Graham, as they continue to grow close. There is a major missed opportunity at the end, and what the episode ultimately chose to show us has been the subject of ridicule amongst fans. Talking about it further would be giving away major spoilers, but you'll know what I'm talking about when you see it. Otherwise, this was a very enjoyable episode with some interesting ideas. Its not a big build up to the finale, but as a stand alone episode in the series, this is one of the better ones.

10. The Battle of Ranskoor Av Kolos
Just rolls off the tongue, doesn't it? With a title as silly as that, the series finale sets itself up to be a forgettable affair. It delivers just that, with a predictable villain reveal and not feeling like much of closing chapter at all. There's yet another distress call for the heroes to answer, this time leading them to a war-torn planet. A survivor, Paltracki (Mark Addy), does his best to fill the team in, but his amnesia isn't helping matters. With the villain revealing themself to the TARDIS team, the Doctor must keep her companions from exacting revenge as well figuring out who the mysterious Ux are. Usually a finale is the culmination of a series long story arc. But, with only a small connection to a previous story, this episode fails to reach the heights of any finale before it. The pacing is slow and the payoffs underwhelming, and left me feeling like I hadn't watched an important episode, but rather standard mid-series average one. 

All together, this latest series could have been much better. There is promise for better things, with Whittaker confidently striding into the role and Walsh creating an instantly likeable companion in Graham. Everything else was either underdeveloped, primarily the villains, or simply forgettable. I won't be too harsh on this series, as it is the first under the new writing team, but the next series could really do with an injection of fun, action and an intriguing story arc.

My 10 Favourite Villain Performances

I've always loved a good villain. Whether comical or frightening, villains have always tended to be the standout characters whenever I see them. The thing I gravitate to the most? The performance. A character can be written well and have the best director aiding them, but if the performance is flat then there's no way we'll ever remember them. So it's that aspect that I'm going to focus on in this list. My ordering isn't to show who I think is the better villain based on their schemes or iconic status, but rather which acting performances I've enjoyed the most. Television characters have also been included in my construction of this list, making it a more definitive showing of ten brilliant performances that I love. 

10. Michael Fassbender as David - Alien: Covenant (2017)

Whilst my feelings towards the film are very mixed, it does at least give us Michael Fassbender reprising his role of David from Prometheus (2012). An android built to serve, David soon develops his own interests, namely the creation of new species. In Alien: Covenant, he has taken his obsession to frightening new levels, resulting in the birth of one of cinemas most iconic alien races. Fassbender's cold and deliberately emotionless voice makes for a brilliant, creepy antagonist. But, as well as creating a chilling presence, his performance also manages to make feel sorry for him. The loneliness he suffers and complex thoughts are all too much for him to handle. His delivery of the line "no-one understands the lonely perfection of my dreams" really hits hard, and is a beautiful summary as to how tragic his life is and how he can never be accepted.

Original upload: Blu-ray Clips

https://www.youtube.com/watch?v=NVW5QQm1ZZU

9. Ian McDiarmid as The Emperor - Return of the Jedi (1983)

Briefly seen in The Empire Strikes Back (1980), the primary villain of the Star Wars saga makes his first real appearance in the final chapter of the original trilogy. Ian McDiarmid portrays the Dark Lord with a disturbing calmness, never raising his voice. Instead, McDiarmid is convincing enough to make the Emperor almost pleasant. That is until hero Luke Skywalker (Mark Hamill) refuses to join his side. Suddenly McDiarmid's hidden menace his revealed as he unleashes his power, and shows us why the Emperor is the most feared being in the galaxy. Special mention must go to McDiarmid's use of what every good villain needs: a deliciously evil laugh. Sly, ruthless and all powerful, Ian McDiarmid's Emperor is the finest performance of a Dark Lord you could ever wish to see.

Original upload: Marcelo Zuniga

https://www.youtube.com/watch?v=ZuPe-ly0BHM

8. Adrien Brody as Luca Changretta - Peaky Blinders (2017)

With more than a hint of Marlon Brando's Vito Corleone, the character of Luca Changretta quickly swaggered his way to the top of the villain list in this hit BBC drama. With an already stellar cast, Peaky Blinders added another top actor to its fourth series with Adrien Brody. Briefly glimpsed in the series' premiere episode, Luca Changretta's proper introduction in the following episode is the perfect summary of why I love this performance. Brody's calmness, with strong feelings of vengeance boiling underneath, makes for an unforgettable encounter with fellow gangster Tommy Shelby (Cillian Murphy). As the series progresses we see new layers to the character, and Brody's charisma and devilish charm makes every scene he appears in an instant modern classic. Not many characters can unsettle the legendary Peaky Blinders gang, but Luca Changretta manages to do it with such ease that you can't help but admire and fear him at the same time.

Original upload: TheKakhi Sakhvadze

https://www.youtube.com/watch?v=jIOlWirdZC8

7. Robert Englund as Freddy Krueger - A Nightmare on Elm Street (1984)
The quintessential boogeyman, Robert Englund's portrayal of the demonic serial killer is now the stuff of horror cinema legend. Before he was cracking jokes and the Nightmare series gradually declined in quality, Freddy Krueger was a genuinely terrifying figure. The original film does a great job disguising Freddy's features, but Englund is still able to create a truly scary performance through well plotted body language. Then there's that deeply unsettling laugh, which never sounded as spine-chilling in the sequels. Englund also uses several different voices, whether it be a creepy whispering sound or a more demon-like low voice, giving Freddy an otherworldly guise. Though later entries turned Freddy into the star of the show, his appearance in the first film is still my favourite, and quickly turned the character into nightmare fuel for several generations.

Original upload: Movieclips

https://www.youtube.com/watch?v=HcrTqof683A

6. Roger Delgado as The Master - Doctor Who (1971-1973)
The list would feel empty if I didn't include my favourite villain from my favourite show. Equally as intelligent as his nemesis but bent on world domination, the Master is the ultimate foe to the heroic Doctor. Like the Doctor, the Master has been played by several actors throughout his time on the show, but for me, Roger Delgado's portrayal has never been topped. The first actor to play the role, Delgado embodies everything that the character is about: madness, charm, sophistication and a burning desire to conquer the universe. Such is the quality of Delgado's performance, that future show runners have made great efforts to re-create the same vibe from other actors who have stepped into the Master's shoes (most notably John Simm in series ten of the modern era). The original and the best, Roger Delgado IS the Master, and it's a performance that I don't think will be matched by any Doctor Who villain.

Original upload; DoctorWhoClips

https://www.youtube.com/watch?v=g10uWQ7zsXM

5. Doug Bradley as Pinhead - Hellraiser IV: Bloodline (1996)

Whilst I prefer Freddy as a villain, the performance of Doug Bradley as Pinhead in the Hellraiser series is some of the best acting you'll see in a horror series. In the eight appearances he made as hell's favourite demon, I think he's at his best in the fourth instalment, Bloodline. Not only does he have more screen time than previous entries, but he also delivers some of his best lines, too. Bradley's ice-cold voice and body language work perfectly to make Pinhead an absolutely terrifying entity. Though Bloodline is a mess, Doug Bradley makes it an unforgettable experience all on his own. Possibly the most underrated performance on this list, maybe even in the history of cinema.

Original upload: ligeantia

https://www.youtube.com/watch?v=qbXYntSSuLg

4. Tim Curry as Cardinal Richelieu & Long John Silver - The Three Musketeers & Muppet Treasure Island (1993  & 1996)
Yes, I'm cheating by including two performances in one entry, but if you've seen them then you wouldn't be able to separate them either. The ultimate lesson in how to chew the scenery, these two moustache-twirling roles from Tim Curry defined him as one of the best villain actors of his generation. Both roles involve Curry attempting to overthrow and manipulate, and all with a campy edge and over the top expressions. As the wicked Cardinal, Curry also attempts to seduce, and as pirate Long John Silver, he gets to show off his singing chops. Whether you prefer him as a lover or a fighter, these performances are immensely entertaining, and are guaranteed to have you siding with the bad guys.

Original upload: Nello Haze

https://www.youtube.com/watch?v=eiKjtOA5GqI

Original upload: Ahto Vahter

https://www.youtube.com/watch?v=Nrj8EZm9ca8

3. Anthony Hopkins as Dr. Hannibal Lecter - The Silence of the Lambs (1991)
The role that everyone thinks of when it comes to the great Sir Anthony Hopkins, Hannibal Lecter is an instantly recognisable figure. Soft spoken, polite and highly intelligent, Lecter knows exactly how to get under your skin, smartly hiding his inner psychotic nature. Hopkins' portrayal is vastly different to other interpretations, opting to never blink and make that unsettling noise after confessing to eating someone to FBI trainee Clarice Starling (Jodie Foster). Though he spends most of his time in a cell, Lecter remains frightening throughout. Hopkins turned the character into a household name, and picked up an Academy Award along the way, a testament to the legacy of this now legendary portrayal.

Original upload: ahmoda 4

https://www.youtube.com/watch?v=zeKqD2g9-ic

2. Jack Nicholson as The Joker - Batman (1989)
It's hard for me to say anything new about this performance, as I've mentioned it several times already. Nicholson seemed born to play this role. His Joker is the perfect cocktail of madness, hilarity and style. Born Jack Napier, a chemical accident leaves the Gotham gangster with a ghastly permanent grin and bleached skin. Now even more homicidal than before, the Joker shoots, poisons and laughs his way to the top of the criminal empire. If that's not enough, he killed Batman's parents, and so is undoubtedly the caped crusader's ultimate nemesis. Nicholson is hilarious in many scenes, but at the same time deeply unsettling. He's totally unpredictable and makes sure he's the focus whenever he appears. The clown prince of crime has never been better than when Nicholson donned the famous purple suit. 

Original upload: Movieclips

https://www.youtube.com/watch?v=63iuB-cSY7Q

1. Christoph Waltz as Hans Landa - Inglourious Basterds (2009)
Not just my favourite villain performance, but my favourite performance of all time. Waltz's devious and charming SS Colonel Hans Landa is the standout in Quentin Tarantino's war epic, and launched a Hollywood career and an Academy Award win. Waltz's mannerisms and pauses between lines all serve to build upon the film's tense atmosphere. Landa is relentless in his pursuit of jewish refugees and evading the american soldiers sent to hunt down the Nazis. One step ahead of everyone else, Landa is able to charm or intimidate anybody to get what he wants, and Waltz masterfully balances this. It's a performance that gets better every time I watch it and for me, has yet to be topped by any actor in any role. A request for a glass of milk has never been so sinister...

Original upload: Movieclips

https://www.youtube.com/watch?v=QfSjs_6MZOQ

Halloween (2018) Review

"He's waited for me... I've waited for him." - Laurie Strode.

"I'm watching 'Halloween'". "Which one? The original from 1978? Or the 2007 remake directed by Rob Zombie? OR, do you mean the 2018 film that's a direct sequel to the original but is still simply called 'Halloween'"?! Once you've wrapped your head around that, then you can actually relax and enjoy this latest instalment in one of the most iconic horror franchises ever made. Ignoring the messy plot holes of the many sequels to John Carpenter's original film, this new film hits the reset button and takes the story of serial killer Michael Myers back to its grisly roots. With Jamie Lee Curtis returning as Laurie Strode and the filmmakers intent on showing respect to Carpenter's original, Halloween is a more distinguishable chapter in the series, and one that more than lives up to the masterpiece that preceded it.

Forty years after a terror-filled killing spree on Halloween night, Michael Myers (portrayed by both James Jude Courtney and Nick Castle) remains in custody, refusing to utter a word. Visited by podcast duo Dana (Rhian Rees) and Aaron (Jefferson Hall), Myers remains silent as his latest doctor, Sartain (Haluk Bilginer), informs them that Myers is "pure evil". Meanwhile, Myers survivor Laurie Strode (Jamie Lee Curtis) has been anticipating an escape from the masked maniac, but in the process is alienating her family. Laurie's wish comes true when Myers escapes and returns to Haddonfield, destined to encounter each other again...

After so many sequels which made the backstory increasingly complicated and bizarre, Halloween makes things much simpler again. Gone is the idea of Michael and Laurie being related, which is referenced in one scene. The idea of Michael Myers being pure evil is focused on once again, and it's done very effectively. Before donning his iconic mask again, we see Michael from the back only, never getting a clear view of his face. The characters around him act with increasing paranoia. At one point, the reveal of the mask is enough to make several inmates and a dog go crazy. There are also several moments of Michael barely being visible in the background, with the camera keeping him out of focus, which builds tension nicely. Finally, he acquires his mask and returns to his murderous ways. Even with the mask on, he is rarely seen in clear detail and we never see his eyes, giving him a more monstrous appearance. I loved the unexpected inclusion of Nick Castle reprising the role for some scenes. It's really cool they included him, as they could of just used James Jude Courtney for the whole film. It's this level of respect for the original cast that makes this entry in the series standout, and they do just as good a job with our protagonist, Laurie.

Never forgetting the life-changing night she first encountered Michael Myers, Laurie Strode has changed drastically from her happy-go-lucky life seen in the first film. Now choosing to isolate herself from her family and booby-trapping her house Home Alone style, Laurie is driven by a desire to kill Michael. She's arguably a more dangerous character than Michael, as she is seen to be increasingly unstable as her obsession grows and grows. Such is the disturbing nature of her obsession, that her daughter Karen (Judy Greer) and her husband Ray (Tony Huss) no longer welcome her to family events. This moves her granddaughter Allyson (Andi Matichak) to contact her more often, which places her directly on Michael's hit-list. Jamie Lee Curtis slips back into the role with ease, but also brilliantly portrays the new side of the character. Never is her new role as a bad-ass protector unbelievable, and that's largely thanks to Curtis and her commitment to the role.

Whilst the film is intent on paying homage to the original, one drastic departure is the level of violence. The first film was mainly a blood-less affair, relying on suspense. Halloween also has fantastic tension, but this time the resolutions are incredibly violent. The violence is portrayed in a disturbingly realistic manner, with Michael viciously battering, choking, stabbing and bludgeoning his victims. Never is the violence over-the-top (aside from one scene of a head being crushed), and there a no irritating cutaways. The violence is there to shock us and make us fear Michael, and also stacks the odds against our protagonists, making Michael appear unstoppable. Following sequels that made the violence too silly (see 2002's Halloween: Resurrection), Halloween's focus on gritty, heart-pounding violence is certainly a welcome return, creating a much scarier and intense film.

Eagle eyed viewers will find plenty of Easter eggs throughout Halloween, especially when it comes to the brilliant cinematography. There are shots in the film that directly reference the original, but with a unique twist (including the final shot from the first film). I also loved the inclusion of footage from the original to help tie the two together, as well as references to Dr. Samuel Loomis (brilliantly portrayed by Donald Pleasence in several Halloween films). There are some Easter eggs I'm sure I missed, and I look forward to seeing if I can spot more on my next viewing.

With its back-to-basics approach and love for the original on full display, Halloween is a return to form for a franchise that has been running low on energy throughout its history. Having Jamie Lee Curtis back certainly gives the film credibility, and some of the new characters are also very likeable (a rarity for modern horror remakes/reboots). Michael Myers is back to being scary again, and there are plenty of moments of tension and scares. Whilst not the most original film, Halloween is exactly what this series needed, and is a standout amongst a plethora of mediocre/terrible modern re-tellings of horror classics. I just wish the filmmakers added a subtitle underneath, as simply calling it Halloween makes zero sense!

The Predator (2018) Review

"They're large, they're fast, and fucking you up is their idea of tourism" - Traeger

After an eight year absence, the Predator has finally returned. This time it's writer/director Shane Black, cast member of the 1987 original, at the helm. Bringing his trademark dry wit to the script and experience from working on the first film in the series, Black seems the perfect choice to keep the franchise running. This latest entry, The Predator, serves as yet another sequel/reboot, referencing the previous films whilst also establishing its own story. With guts, gore and one-liners guaranteed, lets find out if The Predator is worthy to stand amongst its entertaining predecessors.

Upon discovering a crashed spaceship, former Ranger Quinn McKenna (Boyd Holbrook) soon comes face-to-face with a deadly, invisible foe. Salvaging a strange looking mask and other technology from the ship, Quinn mails his findings to his families' home, where they immediately attract the interest of his young son, Rory (Jacob Tremblay). Quickly imprisoned by government agent Traeger (Sterling K. Brown), McKenna must learn to work with a rag-tag team of prisoners to escape and warn of the alien threat. Meanwhile, as Traeger recruits biologist Casey Bracket (Olivia Munn) to examine the alien, dubbed a "Predator", another spaceship arrives to earth, bringing with it a larger, more vicious threat than before... 

One thing that the Predator series has always offered is a diverse mix of characters, whether they be soldiers, the police or even yakuza. In The Predator, our team is a group of foul-mouthed "loonies", each one having their own difficult past. McKenna, one of the more sane members of the group, leads them into battle, with the cool Nebraska (Trevante Rhodes) on hand to serve as second-in-command. I enjoyed Rhodes portrayal of the character, as he delivers his lines in a less over-the-top manner than his cast-mates and exudes confidence. Joining the team after the first encounter with a Predator is Olivia Munn's Casey Bracket. Her backstory and skills are far more interesting than McKenna's, which makes me feel she should have been the protagonist. She quickly learns about  the Predators' strengths and weaknesses, which would make her different to the other protagonists in the series. Sterling K. Brown is the film's villain, Traeger. At first, he seemed to be just a standard antagonist, offering nothing that really stood out compared to the other characters. However, in the film's final third he interacts with McKenna's son, and his performance became a hilarious blend of Tim Curry and Eddie Murphy. Changing his voice, laughing a lot and stealing every scene he was in, his performance suddenly became my favourite part of the film. 

But we don't watch a Predator film for the human characters, do we? We want to see those badass, dreadlocked warriors from outer space cause mayhem. The first Predator the humans encounter is exactly as one might expect: an awesome design with a performer wearing the costume. It was great to see this creature on the big screen again after so long, and every scene it was in reminded me how enjoyable these films can be. But then, the film introduces a bigger Predator (about 10ft tall) and things start to go downhill. The new Predator is just a standard Predator design (with no cool looking mask), and it's bigger. That's it. No new gadgets, no new character traits, just bigger. And to top it off, the CGI is ropy to say the least. For a film made in 2018, the creature should look convincing, but instead we have what looks like a video game character rather than a living, breathing creature. If you have a monster this large, of course its going to be CGI, but the whole idea of just making the Predator really big is not that exciting, and certainly not a strong enough concept to clog up half of the film's action sequences.

There's some major character inconsistencies throughout the film, which makes this particular cast hard to relate to or care that much about. We're told McKenna has PTSD, yet this is never explored or adds any depth. We should feel more sympathetic towards him when learning this, but he remains the same throughout the film, never wavering from the confident leader we see him as in the beginning. McKenna's ex-wife, Emily (Yvonne Strahovski), is a similarly curious case. Before we meet her, she leaves a note for Rory telling him something along the lines of "clean the house for 90 minutes or I'll cut you", which more than implies she may not be the most loving mother. Yet, when she arrives home, she is kind and sympathetic to Rory after he tells her he's being bullied at school. Speaking of the school bullies, the two kids who pick on Rory for having Aspergers syndrome are very cliche and have some laughably bad dialogue. It's these scenes and the weird character choices that made me feel like I wasn't watching a Predator film, and instead a made for TV feature you'd see on the Sci-Fi channel.

Whilst there's fun to be had with some of the performances and other humorous moments, The Predator feels like a significantly weaker entry in what was a strong trilogy. The new giant Predator is lame and the characters are difficult to become attached to. But, with all that included, the film at least felt like a weird enough experience to laugh at and along with, which makes it an enjoyable journey at most. I believe no entry in the series can top the original for its suspense and creativity, and The Predator will certainly not be held in as high regard in the next thirty years or so. It's just about fun enough to not be terrible, but I would expect a lot better from this series. A future classic? No. Just about trashy enough to enjoy? Yes. 

Deathstalker and the Warriors from Hell (1988) Review

"Potatoes are what we eat!" - Khorsa.

Sadly, that's about it for memorable quotes from this film. That says a lot about the third entry in the Deathstalker series. Lacking in quips and memorable moments, we've arrived at the series' blandest offering, but let's see if we can unearth any goodness. Here we go: Deathstalker and the Warriors from Hell.

After meeting the beautiful Princess Carissa (Carla Herd), Deathstalker (John Allen Nelson) is entrusted with a valuable jewel, one of three such items that will unlock a magical city. Unfortunately, the evil Troxartas (Thom Christopher) possesses the other two jewels, and seeks the third to resurrect an army of the dead. Accompanied by Carissa's sister Elizena (also played by Herd) and warrior Marinda (Claudia Inchaurregui), Deathstalker must outrun Troxartas' forces and face his toughest challenge yet in a bid to win the day.

Like the other films, Deathstalker III introduces a new lead actor to the title role. This time it's John Allen Nelson, a far less brutish leading man than initial lead Rick Hill. Nelson exhibits some of the same personality traits of John Terlesky's Deathstalker, but is overall a more charming hero than either of his predecessors. He's a more gentle soul, especially towards the women he meets compared to the other two Deathstalkers. Unfortunately, he doesn't have much personality beyond that, making him the most forgettable of the three. He occasionally delivers the a few one-liners, but Nelson's delivers a straight portrayal for the most part. Rick Hill also played the role straight in the first film, but had more cheesy lines and the right look to convincingly portray the hero. Here, Nelson doesn't have the intimidating presence of Hill or the comic timing of Terlesky and looks nothing like the muscle-bound warrior seen on the film's poster. 

The female leads also suffer from fairly bland personalities and a lack of screen time. It's hard to tell which character is supposed to be the lead, as Deathstalker shows sexual interest in all of them (probably the only consistent character trait in the series). The sibling princesses Carla and Elizena are both played by Carla Herd, and they are at least given distinct personalities. Carla is the more noble and fair, whereas Elizena is more irritating and untrustworthy. Elizena is sadly becomes the focus after her sister is killed early on in the film, and her character becomes annoying very quickly. She constantly antagonises people and is completely incapable of defending herself. At least Lana Clarkson's Kaira from the first film knew how to fight and never backed down from a challenge, but Deathstalker III's Elizena reverts the female lead back to the damsel-in-distress role. There's also Deathstalker's main love interest Marinda, the closest we get a strong heroine. She hooks up with Deathstalker soon after meeting him, but lacks any notable character traits. She does participate in the fighting, but that's about it. Of the three female heroes, Carla was the one who possibly would have made the best lead, but she's killed off so quickly and the other two have such obvious weaknesses which further places Deathstalker III below the first two films.

Then there's the film's villain, Troxartas, a sorcerer with weird fashion sense. Whilst his physique or sword skills won't do much to intimidate, his ghastly choice of clothing is sure send shivers down your spine. Wearing something different in almost every scene, his costumes range from a traditional sorcerer's cloak to a wearing no trousers. Funniest of all is a fuzzy blanket, which is easily the most amusing costume in a film full of them. It says a lot when the wacky costumes for the villain are more memorable than the villain himself, with Troxartas mixing well with the other dull characters. His evil plan is to possess all three jewels to resurrect a room of defeated warriors, but he doesn't do much at all throughout the film other than that. He fights Deathstalker at the end, and it's a truly pathetic display of fight choreography. At least the fight takes them to various rooms in the castle, but the sword work leaves a lot to be desired, with both actors seemingly incapable of delivering a convincing display. 

Where the film also suffers is a lack of memorable scenes or creatures. In the first two films, there was a large variety of foes including a pig man, zombies and trolls. Deathstalker III has the undead army, but they only show up at the end and their screen time is limited. The poster claims this to be "the most action packed Deathstalker yet", but there is very little action and the film moves at a very sluggish pace. With no quotable lines or enough to make fun of, the majority of the film is actually boring, only picking up at the end with the large fight between the warriors from hell and the heroes. The soundtrack is also unspectacular, with the main theme being recycled from several other Roger Corman produced films. The first film's soundtrack was full of energy, featuring a choir singing what sounds like an ancient language, perfectly setting the right atmosphere. Deathstalker II's theme was slightly more fitting to the decade of when the film was made, with the inclusion of synthesizers and a faster tempo. Deathstalker III's recycled musical score only serves to make it stand out as the weaker film. Praise must be given, however, to the lack of stock footage. I was only able to count one use of footage from the previous Deathstalker films, and even then it was only a brief shot of a castle interior. 

Lacking in action, memorable characters and a fun pace, Deathstalker and the Warriors from Hell is easily the worst entry in the series. The new Deathstalker has no charisma and the film lacks a strong villain, with only the final third of the film serving up a half-decent slice of entertainment. There isn't much to recommend here, and I would only say to watch just to complete your viewing of the series as a whole. But if you only ever check out one of these films, make sure it isn't this one.

The Fantastic Four (1994) Review

"I love walking into a trap, don't you?" - The Thing.

Ah, the Fantastic Four. Never has there been a more troubled group of superheroes when it comes to making a successful film franchise. Most people will be familiar with the two Fantastic Four films directed by Tim Story released in 2005 and 2007 and the most recent attempt by Josh Trank in 2015, which seems to have killed off any hope of seeing the iconic team return to our screens anytime soon. But the failure to land a trilogy in the mid 2000's and a reboot so bad its own director ranted about it on Twitter is not all there is to the Fantastic Four's torrid time on the big screen. Back when Batman and Superman where flying the flag for superhero films, infamous B-Movie producer Roger Corman funded a feature length film based on the Marvel Comics team. Made on a budget of around $1 million, it afterwards transpired that despite the cast and crew's best efforts, the film was never intended to be released. Thankfully, bootleg copies of the film have ensured the film's survival, and we can now view this fascinating part of film history for ourselves. So, let's dive right into the crazy world that is the unreleased first ever Fantastic Four film.

Hoping to harness the power of passing comet named Colossus, scientist Reed Richards (Alex Hyde-White), his best friend Ben Grimm (Michael Bailey Smith) and siblings Sue (Rebecca Staab) and Johnny Storm (Jay Underwood) travel to outer space. However, exposure to the comet's power causes their craft to crash back down to earth, and the four of them each gain unique powers. News of their survival reaches the ears of old acquaintance Dr. Doom (Joseph Culp), who blames Reed's previous experiments for his disfigurement. With Doom threatening to wipe out New York and pesky villain the Jeweller (Ian Trigger) also on the loose, the Fantastic Four must quickly learn how to use their new gifts in order to save the day.

It's actually quite difficult to give this film a review, considering it was made solely for the studio to keep the rights for the characters and was never officially released. Not that the cast and crew doing the best they could knew anything about that, and so the end result is a really bizarre experience. Let's take a look at the characters first, starting with the four principal heroes. Alex Hyde-White is our leading man as Reed Richards (Mr. Fantastic). He's given the most development of any of the team, as we explore his college life and friendship with Victor Von Doom. He leads the expedition into space as well as encourages the team to use their powers for good. He's a decent lead overall, not given too many cringe-worthy lines, just not the most convincing portrayal of a superhero you'll see. Speaking of cringe-worthy lines, most of those are handed out to Jay Underwood's Johnny Storm (the Human Torch). Portrayed as the "cool kid" of the team, he spends most of his time telling lame jokes and is pretty useless up until the last ten minutes of the film. Whereas Johnny is handed all the bad dialogue, Rebecca Staab is handed little to no dialogue whatsoever. Her power of invisibility suits her character the best as she is pretty much invisible before and after she gains her powers. No time is dedicated to the blossoming romance between her and Reed, making it very rushed and unconvincing when she starts saying things like "I love you". The closest we get to a backstory for her is that she's always fancied Reed, but that's it. Benn Grimm is the muscle of the team, and Reed's closest friend. Despite his loyalty, his encounter with the comet turns him into a rock-skinned creature, affectionately known as the Thing (played in costume by Carl Ciarfalio). Grimm becomes the focus of the film after the accident, as we see him leave the team and hide himself away because of his monstrous appearance. These moments of the film are handled well, showing how isolated he feels and how much he doesn't fit in with the rest of the world, even with some rather goofy moments.

But the standout character of this crazy adventure is Joseph Culp's Dr. Doom. With his metallic costume and booming voice, Culp certainly has presence as the Fantastic Four's arch nemesis. However, the joy of this performance is his theatrics, which range from classic comic book villain to absurdity. He's given all the cliched villain lines you could imagine, and Culp has a tendency to wave his arms around with almost every word he says. My favourite part is when he starts using sign language, the funniest use being a scene during the film's third act. Whilst making his threats to our heroes via a television screen, he tells them that they have "twelve hours to surrender", and he actually air writes the number 12 backwards as he says it! The film's secondary villain, the Jeweller, is not as memorable. Although the makeup is pretty good, especially for such a limited budget, he isn't at all threatening. Whilst it's cool to get two villains, something uncommon in an origin story, I wish we could have had more screen time for Dr. Doom and his sign language rather than the Jeweller.

Whilst the cast do their best with the dialogue, the crew clearly struggle to work with the small budget to create convincing special effects. You have to feel sorry for them, as there's no way they could make a superhero film with good effects with the studio's money. What we end up with is a series of very ropy CGI for the Human Torch and rubbery looking stretched limbs for Mr. Fantastic. Praise must go to the makers of the Thing's costume, which looks just like the comic book and is also quite expressive. The superhero costumes are very cheap looking, just standard blue costumes with the number four. The costume for Dr. Doom is arguably the best and as previously mentioned, the Jeweller's appearance is well realised.

Other creative decisions are a bit hit and miss. I can't think of many other films that show a POV shot from the perspective of a blind person, and the action scenes don't appear to have been  choreographed too carefully. There's also some inconsistent editing, which is probably due to the rushed production schedule. The final encounter between Mr. Fantastic and Dr. Doom is poorly handled, with only three punches involved in the whole thing and a very silly "death" scene involving a green screen effect. Whilst these choices completely take you out of the film, it does give The Fantastic Four a certain cheap charm. There's things in this film that you'll probably never see in any other, and for that reason alone, I do recommend it.

So there you have it, the first attempt to introduce one of the most iconic superhero teams ever, and it was never intended to be viewed by anyone. Made purely to keep the rights to eventually make the 2005 reboot, it truly is a unique genre film. Kudos must go to the cast and crew for doing everything in their power to make the film work, and special mention to Joesph Culp for making Dr. Doom so menacing and yet so funny at the same time. Not many actors would be able to achieve that. I'll be back next month with a review of another cult classic. Until then, enjoy Mr. Culp's memorable turn as Doom in the clip below!

Solo: A Star Wars Story (2018) Review

"Assume everyone will betray you, and you will never be disappointed" - Beckett.

It really doesn't feel like any time has passed since Star Wars: The Last Jedi arrived to split audience opinion into extreme love or extreme hate for the latest instalment in the space epic franchise. Now, before Episode IX is released to no doubt divide opinion, we have the next entry in the "anthology" series: Solo: A Star Wars Story. 2016's Rogue One was an excellent addition to the series, as it brought a fresh angle to an already known story and some big risks, most notably the use of CGI to "resurrect" the late Peter Cushing. Solo, however, is a completely different take, opting to a tell a relatively more optimistic tale than Rogue One. Despite flying the Star Wars banner, Solo has performed far below expectations financially than any other before it. But is the film itself actually any good?

After the Galactic Empire has taken control of the galaxy, a young Han Solo (Alden Ehrenreich), alongside love interest Qi'ra (Emilia Clarke), makes a daring attempt to escape the murky streets of Corellia. Unfortunately, things don't go to plan, and Han soon finds himself teaming with a criminal gang led by the charismatic Beckett (Woody Harrelson). Eventually hired by crime lord Dryden Vos (Paul Bettany) for a new job, Beckett's crew, including wookie Chewbacca (Joonas Suotamo) and gambler Lando Calrissian (Donald Glover), set out to make the legendary "Kessel run" and settle their debt to Vos, all whilst being pursued by the mysterious Enfys Nest (Erin Kellyman).

Of all the recent Star Wars projects, Solo's premise is certainly the one that makes you think: "is this really a story we need to know?". The answer is, unfortunately, "no". We already know Han's personality and goals from the other films, and seeing him in his youth doesn't add any sort of depth to his character. Alden Ehrenreich does fine with the material he's given, but the script is severely lacking Han's trademark sarcasm and wit. There are moments when Ehrenreich breaks past the script and gives us a hint of a young Harrison Ford, but these are sparingly displayed and Han instead takes a back seat to the other characters (in a film that is named after him!). Whilst not all the characters in Solo are particularly memorable, Donald Glover's portrayal of young Lando Calrissian is a standout. Glover flawlessly embodies the charming but untrustworthy characteristics that Billy Dee Williams first introduced us to in 1980's The Empire Strikes Back. The mannerisms and inflections were spot on for Lando, which confuses me how the film can do a supporting character justice, but not its lead. Woody Harrleson brings his usual charisma to Beckett and makes a good pairing with Westworld's Thandie Newton in a brief role. Emilia Clarke, best known as Daenerys Targaryen in Game of Thrones, brings a softer edge to the film as Qi'ra, but she also gets her chance to be tough and proves to be an essential member of Beckett's team. 

If there's one quality that makes the Star Wars films an essential piece of science-fiction, its the villains. From the dark lord himself, the Emperor, to iconic baddies such as Darth Vader,  Boba Fett, Darth Maul, Count Dooku and Kylo Ren, these characters are instantly recognisable and have resonated with audiences for years. In Solo, Paul Bettany is our primary antagonist, Dryden Vos. Though we are given a hint of his history with Beckett, we learn very little about Vos, and he never comes across as much of a threat. Whereas Boba Fett and Darth Maul weren't the most developed characters, their design and actions cemented them as instant fan favourites. Vos on the other hand isn't very distinguishable and, like Ehrenreich, Bettany tries his best to elevate the character above the script he's been handed. The mysterious Enfys Nest is a complete waste, appearing out of the blue and making no impact on the story whatsoever. It just goes to show that a cool design simply isn't enough to be a great Star Wars character, especially given the series rich history of iconic heroes and villains.

From a story perspective, I think there should have been an entirely different focus from what Solo gives us. I don't think we needed to see the Kessel run, as it's only a small anecdote in A New Hope and actually shows us nothing that we didn't already know. I would have preferred to see a story that challenges our opinion on the characters. Why not a story that shows Han working for Jabba the Hutt where he has difficult moral decisions to make due to the nature of his work? The plot of Solo does nothing to make us think differently or feel any deeper connection to Han. Its also worth mentioning that the humour throughout the film felt forced (no pun intended), something which many people found to be a problem with 2017's The Last Jedi. There are too many moments of pausing for laughs, that and the jokes themselves aren't actually that funny. The only one I really liked was hearing the famous Imperial March music being played in a major key for a piece of Empire propaganda.

Whilst it has moments of being a fun adventure, Solo is an ultimately pointless venture. The flashes of good performances and the odd set-piece aren't enough to separate it from the many similar blockbusters seen in cinemas nowadays. Star Wars became a sensation for breaking new ground with old stories. Solo simply plays it safe and offers nothing more than "here's Han Solo in his youth". Even then, the character hardly resembles the rough scoundrel we know and love, making this arguably the weakest entry in the saga to date.