Every once in a while, one of the mainstream UK television networks tries its hand at science fiction. Sometimes, these can be successful (I am thinking season three of Torchwood), yet many times, they fall more than a little flat (pretty much anything on ITV, they always seem to either go kiddie safe or full on mopey drama). That's not to say they shouldn't keep trying and here comes the BBC with a Hulu co-operation: Hard Sun.
Before I go any further, beware, there are going to be spoilers so if you are watching the series on BBC One, beware. However, since it was also full released in BBC iPlayer, you can do what I did and get through all six episodes over a couple of nights.
So, the premise is pre-apocalyptic, the sun is going to kill us in five years, humanity and all life on earth. This knowledge is being tightly controlled until a hacker steals the data and promptly falls off the top of a tower block, triggering the involvement of out two protagonists: DCI Charlie Hicks (played by Jim Sturgess) and DI Elaine Renko (played by Agyness Deyn). From this point, the show becomes a standard cop show with some conspiracy theory leanings, the sci-fi angle is a macguffin that essentially exists to motivate the cast. And what a set of characters we have: Hicks is a rotten person, he steals from the underworld, is suspected of killing his former partner (who Renko has replaced), has a pregnant wife with a daughter and is also sleeping with his late partner's widow. Yep, he literally has no redeeming features - even the displays of love for his unborn child are tempered by the extra-marital activity. Renko has been secretly given another chance to prove herself by investigating Hicks on behalf of the departments head, DCS Roland Bell. She also has a teenage son, the result of a rape attack when she was a teen, who is severely mentally ill and has extreme issues with her. These two are not the best examples of modern Metropolitan Police recruitment and it's hard to think of many shows with main characters that are so completely f**ked up. Sturgess plays Hicks as if he wants to be the next strongman of Eastenders and Deyn, all vulnerable yet handy with a baton, gets to show her acting chops well. The dialogue does let them down though, all hard-boiled, over-wrought and hyperbolic.
The supporting characters are much more likeable: the standouts being sarkey DS Mishal Ali (with a decent Geordie accent) and blokey Welshman DS Keith Greener. There is a pretty much even coverage of the countries and regions of Britain in the unit and smacks too much of quota filling - even so, whilst not overly realistic, the characters themselves are pretty well rounded.
Once we get out of the info dump of episode one, setting up the premise and the characters, episode two switches from conspiracy mode to "nutter of the week" territory, neatly destroying the urgency and paranoia of the first outing. Episodes three and four cover one nutter (so "nutter of the fortnight"), Five covers Renko's son and the need to take on the almost ever present security services, and Episode Six rounds off the series by a game of cat and mouse between the duo and Security Service agent Grace Morrigan (a lovely controlled and meticulous Nikki Amuka-Bird) as well as a second plot strand about missing people - it turns out a cancer victim is taking people to be happy then forcefully lobotomising them. That particular story has a couple of stand outs - one, if you have any fear of something getting in your eye, this episode is not for you, and two, Gotham actor Anthony Carrigan plays the cancer victim, Mr Weiss who, we thought when he first appeared, had walked off the set of Fringe, pale, hairless and wearing a black suit. For one second, we thought cross-over!!! Sadly, it wasn't to be.
Most of the plots strands are tied up by the end, Hicks admits to Renko that he did kill his partner, it's hinted the the DCS was in love with the dead-partner, hence the fight to get Renko to nail Hicks to the crime, Renko and her son start the basis of a relationship that means he doesn't try to kill her and then there is the ending... (I'll get to that lower down).
As I said above, the series was released in one go on iPlayer and I am pleased it was. I don't think I would have stayed with the show for six weeks. The problem? Pacing. That familiar problem of pacing. I can see why they have six episodes, and theme wise, they work well and are well made, but each episode is 50 to 60 minutes long and there are far too many dramatic pauses, long shots, etc that act as just filler. The music is quite good, though when you get harsh sun glare shots, there is always an ominous note, and that gets a bit wearing after the fifth or sixth time in an episode. The opening credits, too, are distinct and stylish, even if they do steal a bit from the new Star Trek: Discovery show, even down to the Michelangelo hands shot.
Now, the ending - the last five minutes of Episode Six vex me. Why? Because at the very end, we realise the Powers That Be have lied, that Hard Sun wasn't five years away, and that it is starting now. A shot of the sun, a giant flare swinging out to one side, captivates everyone who sees it. And then that's it. So everything MI5 have done, the killing, the chasing, all of that was for no point. If the PTB already knew this, why the five years deadline anyway? It feels a cheat by the writer, a shock ending that finishes the story with a final exclamation mark. Much like the "one month later" note at the start of episode two, this feels like a con. This show could have continued for a coupe of years, much like Millennium, which was the vibe we got during the middle episodes, yet no, it's had its six ep run and there you go. Maybe there might be more, the series doesn't air in the US until March but I doubt it. If I were to mark this out of ten, I'd say 5 - average.
Friday 19 January 2018
Wednesday 10 January 2018
Of Things To Come - 2018
So, here we are, firmly into 2018, with a couple of blog posts already done and more to come. This is a good start, for me, anyway!
The aim this year is to post more frequently and more regularly, adding book, film, game and music reviews, with retrospectives in those areas as well branch out with a couple of side projects that I'll cover when they get underway. What I can say is that I am looking forward to those and hope you enjoy them too when they come to fruition.
In addition to the above, there should be the usual wargames shows that I hope to attend. Those will be Vapnartak (York - 4th February), Salute (London - 14th April), Carronade (Falkirk - 12th May), Partizan (Newark - 29th May), Durham - date TBC, Claymore (Edinburgh - 5th August) and 2nd Partizan (Newark - 19th August). I hope to add posts about these shows as they happen but that all depends on how much time I have at each. I may try to get to one or two others but that will be at the mercy of spare time.
Of course, alongside the shows, there will be the semi-regular TWATS meetings, details of which will be (semi-)honestly reported (depending on how I do) here as well ;-) I know there is Shinyloo to come first but after that, it's all a mystery - in other words, we decide at the end of one meeting what the next one will be. However, as always, there will be fine ale and victuals on hand. It's not just about the dice rolling - seriously. I would add intellectual conversation, but that could be stretching it a bit - funny, near the knuckle and interesting, but intellectual? Hmmm...
With that, I hope 2018 is a good year for you all and you enjoy reading this blog as much as I enjoy writing it.
The aim this year is to post more frequently and more regularly, adding book, film, game and music reviews, with retrospectives in those areas as well branch out with a couple of side projects that I'll cover when they get underway. What I can say is that I am looking forward to those and hope you enjoy them too when they come to fruition.
In addition to the above, there should be the usual wargames shows that I hope to attend. Those will be Vapnartak (York - 4th February), Salute (London - 14th April), Carronade (Falkirk - 12th May), Partizan (Newark - 29th May), Durham - date TBC, Claymore (Edinburgh - 5th August) and 2nd Partizan (Newark - 19th August). I hope to add posts about these shows as they happen but that all depends on how much time I have at each. I may try to get to one or two others but that will be at the mercy of spare time.
Of course, alongside the shows, there will be the semi-regular TWATS meetings, details of which will be (semi-)honestly reported (depending on how I do) here as well ;-) I know there is Shinyloo to come first but after that, it's all a mystery - in other words, we decide at the end of one meeting what the next one will be. However, as always, there will be fine ale and victuals on hand. It's not just about the dice rolling - seriously. I would add intellectual conversation, but that could be stretching it a bit - funny, near the knuckle and interesting, but intellectual? Hmmm...
With that, I hope 2018 is a good year for you all and you enjoy reading this blog as much as I enjoy writing it.
Monday 8 January 2018
A Brace of Phantoms - Book Reviews
I have been a military history buff since I was a child and of all of the periods I have read about, the post World War 2 period is the one that fascinates me the most. True, there are other periods that interest me and I do have an eclectic library but 1945 onwards is my favourite. Recently, I have finished two books in what I call the "Boys" range. This range of titles has covered the Lighting, Jaguar, Buccaneer, Hunter, Vulcan, Victor, Canberra, Meteor, Javelin, Tornado and the V-Force, but for this post, I'll be covering the two volumes printed about the Phantom.
The usual format for the series is that the author acts as a bridge between stories told in the first person by those who flew, operated and worked with each title's selected aircraft. I like this format as although general history books can be good, nothing beats the personal experiences written down by those who were there, no matter what period of history you cover, and in that respect, volume one is very good. The tales are interesting and really do give you an idea as to how effective the so-called high technology of the day actually was (i.e. not very at times - makes you wonder that if the balloon did go up, the winner would have been the man with the last piece of working tech!). As with previous titles, you learn far more about the aircraft and those who flew and fought with them than any technical work and it is fascinating.
However, there is a but here. Whilst volume two continues the interesting tales, the presentation is far different. Rather than first person, the author, Richard Pike, presents each tale in the third person, adding verbose and flowery writing which pads out the book to no real effect. It feels like he is auditioning for a career in fiction rather than presenting the stories of those whose careers featured the Phantom. The style detracts from the feel and at times makes reading the book a chore. The individual tales are worth a read, it's just the telling that doesn't gel.
Overall though, if you have an interest in late 20th Century military aviation, these are worth a read, as are the rest of the "Boys" series, just beware the style. I am currently reading Meteor Boys and will post a review when it's finished.
Saturday 6 January 2018
A Pair of Films
During the Christmas period, I caught up with a couple of films that had been added to Netflix, one that carried a fair bit of expectation and the other that quietly arrived with little fuss (and was all the better for it).
First up, Bright. Starring Will Smith and Joel Edgerton, Bright posits an alternate world where Elves (upper class), Humans (Middle Class) and Orcs (Lower Class) live together. All is not well, as the heavy handed social commentary would have it and it is with this background that Edgerton plays the first Orc police officer in Los Angeles. Cue the usual mistrust, racism and bigotry. Add to that magic users and you have a smorgasbord of story tropes to fill two hours.
Now I will say that this film has been panned by critics, some labelling it the worst film 2017. That, it is not, in my humble opinion. True, it's not high art, but then it was never meant to be. What it is, however, is a cracking popcorn movie that will do for an evening's entertainment. The story moves at a good pace and the $90 million budget looks well spent on effects (and probably Smith's fee). Acting is average to good. Smith seems to be relying upon the same schtick that has carried him since Independence Day (except a bit more sweary - even with the early morning scene introducing the character), and whilst this is seems as effortless as always, it does feel a little lazy. Edgerton is superb, despite the hindrance of prosthetic make up. He carries the sense of newcomer and outsider well, adding an honour that is missing from much of the human cast. Noomi Rapace is decent but wasted as the Evil of the story, and although she doesn't phone her performance in, the script doesn't give her much to work with. Overall though, it's an entertaining movie that, if you have Netflix, you should give it a go.
Bright, as noted above, has taken a lot of flack and part of that will be down to the nature of its release. No cinema showings for this one as Bright is the start of Netflix's plans to take on movie studios and deliver more of its own content rather than rely upon buying rights to others - an example being the Marvel Cinematic Universe films that Disney have taken back off Netflix in order to launch their own streaming service. As such, Bright is very much a tent-pole release and one that has a lot riding on it. Given a sequel has bee green-lit, we can presume that, despite the critical response, the viewer response has been good enough.
The Foreigner, starring Jackie Chan and Pierce Brosnan, is more of a thriller, telling the story of a Chinese businessman whose daughter is killed by a renegade Irish terrorist attack. What follows is his attempt to find out who committed the attacks and the revenge he seeks.
The film has had quite a decent international cinema release but not in the UK. On a $35 million budget it took $140 million so it was a success. For a UK release though, it's been handled by Netflix which is a shame as it deserves a wider audience.
Chan plays pretty much against type as a 61 year old (which he was at the time of filming) and really gets to show his acting skills. There is a tangible sense of grief and anger as he slowly follows the trail to those who killed his daughter. There are a few fight scenes, and boy, does he get his arse kicked at times, but his character's background is explained well and doesn't take away any of the story. The film also proves that even in his sixties, Chan still can move about.
Pierce Brosnan plays the Northern Ireland Assembly Deputy Leader who previously led the IRA and renounced violence for a political solution - or did he? No plot spoilers but there is enough meat on the story to keep you entertained, even if Brosnan's Northern Irish accent does slip every now and again. The supporting cast are all good and the film ramps up the tension, particularly in the last half hour, to a conclusion that gives a fitting pay-off to all concerned.
If you do have Netflix or can get a free trial, I would certainly recommend The Foreigner.
First up, Bright. Starring Will Smith and Joel Edgerton, Bright posits an alternate world where Elves (upper class), Humans (Middle Class) and Orcs (Lower Class) live together. All is not well, as the heavy handed social commentary would have it and it is with this background that Edgerton plays the first Orc police officer in Los Angeles. Cue the usual mistrust, racism and bigotry. Add to that magic users and you have a smorgasbord of story tropes to fill two hours.
Now I will say that this film has been panned by critics, some labelling it the worst film 2017. That, it is not, in my humble opinion. True, it's not high art, but then it was never meant to be. What it is, however, is a cracking popcorn movie that will do for an evening's entertainment. The story moves at a good pace and the $90 million budget looks well spent on effects (and probably Smith's fee). Acting is average to good. Smith seems to be relying upon the same schtick that has carried him since Independence Day (except a bit more sweary - even with the early morning scene introducing the character), and whilst this is seems as effortless as always, it does feel a little lazy. Edgerton is superb, despite the hindrance of prosthetic make up. He carries the sense of newcomer and outsider well, adding an honour that is missing from much of the human cast. Noomi Rapace is decent but wasted as the Evil of the story, and although she doesn't phone her performance in, the script doesn't give her much to work with. Overall though, it's an entertaining movie that, if you have Netflix, you should give it a go.
Bright, as noted above, has taken a lot of flack and part of that will be down to the nature of its release. No cinema showings for this one as Bright is the start of Netflix's plans to take on movie studios and deliver more of its own content rather than rely upon buying rights to others - an example being the Marvel Cinematic Universe films that Disney have taken back off Netflix in order to launch their own streaming service. As such, Bright is very much a tent-pole release and one that has a lot riding on it. Given a sequel has bee green-lit, we can presume that, despite the critical response, the viewer response has been good enough.
The Foreigner, starring Jackie Chan and Pierce Brosnan, is more of a thriller, telling the story of a Chinese businessman whose daughter is killed by a renegade Irish terrorist attack. What follows is his attempt to find out who committed the attacks and the revenge he seeks.
The film has had quite a decent international cinema release but not in the UK. On a $35 million budget it took $140 million so it was a success. For a UK release though, it's been handled by Netflix which is a shame as it deserves a wider audience.
Chan plays pretty much against type as a 61 year old (which he was at the time of filming) and really gets to show his acting skills. There is a tangible sense of grief and anger as he slowly follows the trail to those who killed his daughter. There are a few fight scenes, and boy, does he get his arse kicked at times, but his character's background is explained well and doesn't take away any of the story. The film also proves that even in his sixties, Chan still can move about.
Pierce Brosnan plays the Northern Ireland Assembly Deputy Leader who previously led the IRA and renounced violence for a political solution - or did he? No plot spoilers but there is enough meat on the story to keep you entertained, even if Brosnan's Northern Irish accent does slip every now and again. The supporting cast are all good and the film ramps up the tension, particularly in the last half hour, to a conclusion that gives a fitting pay-off to all concerned.
If you do have Netflix or can get a free trial, I would certainly recommend The Foreigner.
Wednesday 3 January 2018
Star-Raker - A Book Review
Happy New Year, one and all, and welcome back to TIT! I hope you all had a good festive season.
I managed to catch up with some reading and films over Christmas and the New Year, so there'll be a couple of posts coming up about those but for today, I'll be posting a review for Star-Raker by Donald Gordon.
Some of you may recall Gordon's novel, Flight of the Bat which I reviewed last year here. I liked that novel so was looking forward to reading a previous book. It's not a substantial read, I read it over the course of an afternoon, but it was, overall, rather enjoyable in a lightweight way.
Detailing the prototype flights of a revolutionary British supersonic airliner, it promises both drama and technical accuracy when pilots testing the aircraft start to develop cancer, threatening not only the future of the programme but also the company building the plane.
It is very much a piece of its time (1962) and it takes no imagination whatsoever to see how this could have been filmed in that very clipped, emotionally straight-jacketed British cinema style of the time. It makes the characters feel, if not lifeless, then at least somewhere on the spectrum. Even death brings very little emotional response apart from sniffles into a hanky and a turn of the head.
The story itself moves at a rollicking pace and the sub-plot about politics and the Ministry add a depth that is certainly required. It does tie in nicely and whilst the science of the danger posed by the new aircraft (no spoilers though) is suspect, it's a MacGuffin that serves its purpose well even if, in the final pages, it is used to physically disable a main character is a stupid and pointless manner. (Don't worry, that event is signposted earlier on so you know it's going to happen!).
Still, it's worth a read and won't take up too much of your time. Of the two books of Gordon's I have read, I still much prefer Flight of the Bat.
Speaking of the author, whose full name is Donald Gordon Payne, I must make an apology, in that Star-Raker was his fifth novel, not second. Whoops. He enjoyed later success in having one novel optioned by Disney which was later made into "The Island at the Top of the World"and according to the Wikipedia entry for him, the gentleman celebrates his 93rd birthday today.
Many happy returns, Mr Payne, thank you for two (as read so far), entertaining novels!
I managed to catch up with some reading and films over Christmas and the New Year, so there'll be a couple of posts coming up about those but for today, I'll be posting a review for Star-Raker by Donald Gordon.
 |
| 3'6, a bargain??? |
 |
| Bring on the hyperbole!!! :-) |
Detailing the prototype flights of a revolutionary British supersonic airliner, it promises both drama and technical accuracy when pilots testing the aircraft start to develop cancer, threatening not only the future of the programme but also the company building the plane.
It is very much a piece of its time (1962) and it takes no imagination whatsoever to see how this could have been filmed in that very clipped, emotionally straight-jacketed British cinema style of the time. It makes the characters feel, if not lifeless, then at least somewhere on the spectrum. Even death brings very little emotional response apart from sniffles into a hanky and a turn of the head.
The story itself moves at a rollicking pace and the sub-plot about politics and the Ministry add a depth that is certainly required. It does tie in nicely and whilst the science of the danger posed by the new aircraft (no spoilers though) is suspect, it's a MacGuffin that serves its purpose well even if, in the final pages, it is used to physically disable a main character is a stupid and pointless manner. (Don't worry, that event is signposted earlier on so you know it's going to happen!).
Still, it's worth a read and won't take up too much of your time. Of the two books of Gordon's I have read, I still much prefer Flight of the Bat.
Speaking of the author, whose full name is Donald Gordon Payne, I must make an apology, in that Star-Raker was his fifth novel, not second. Whoops. He enjoyed later success in having one novel optioned by Disney which was later made into "The Island at the Top of the World"and according to the Wikipedia entry for him, the gentleman celebrates his 93rd birthday today.
Many happy returns, Mr Payne, thank you for two (as read so far), entertaining novels!
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