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10 Reasons to see Transformers 3: Dark of the Moon


The latest Transformers movie has been critically panned from virtually every corner. Danny Leigh off that BBC show with Claudia Winkleface is even calling for strike action to boycott the movie in The Guardian and thus send a message to studio execs. But outside elite film critics there must still be a demand for Michael Bay’s franchise. And I bet those of you that are glass half full kind of people, are crying out for some positivity. Wail no more optimistic readers.

1)      Transformers 3: Dark of the Moon is based on a pretty sound and promising premise. It draws on one of the most historic moments in human civilization, the 1969 moon landing, to give a story about toys some narrative heft for the adults. The space race, we discover, was not just a competitive dash to the stars but a sprint for the wreckage of an Autobot ship, containing some alien tech with Godlike powers. But hang on the astronauts look round for a bit and then come home again rather uneventfully…

Aside from the idea there’s the title itself. I mean it’s pretty damn cool to make a film with the same name as a legendary Pink Floyd album! Oh wait, there’s a word missing. But they say Dark Side of the Moon in the movie? Maybe Michael Bay (or some lawyers) decided it was snappier to drop a word.

2)      Or perhaps no one wanted to limit this film to just the one “side”. There are at least three sides available because Transformers 3: Dark of the Moon is out in 3D. In fact with the juggernaut of 3D films slowing, its supporters in the industry are said to be pinning their hopes on Bay’s blockbuster because his trademark CGI pyrotechnics look stunning via the magic shades. I saw it in 2D because I wasn’t keen on paying more for a film I didn’t really want to endure. But let’s stick with the positives.

Transformers 2: Revenge of the Fallen makes a case for being one of the worst films of all time. I haven’t even seen it (mostly because of the sheer force of the derision) but you know a film is bad when its director and star use words like “shit” and “crap” just seconds after they are no longer contractually obliged to promote it. The original Transformers was surprisingly good though and critical consensus is that this is substantially better than the sequel. The downside for Michael “Boom-Bang-Bam” Bay is that most reviewers are merely saying Transformers 3 is better to illustrate how atrociously bad the second instalment was.

3)      Damn I said I would stick with the positives didn’t I? Well there are always two big ticks alongside Michael Bay’s name. He is consistent and he always provides plenty of bangs for your buck. I saw the first Transformers by accident all those years ago and I was won over primarily by Bay’s competent handling of stuff frequently exploding into thousands of shards of glass and chunks of concrete. In Transformers 3, if you stick with it for over an hour, you get to see Chicago flattened. In one scene the human characters slide through a skyscraper as it collapses. Then they slide through it again. Then more stuff blows up. Then some more. Then there’s some slow mo. And a bit more. Something else goes bang. You lose interest.

4)      Alright there are some negatives. Like the constantly annoying and yelping Shia LaBeouf.

5)      But surely these are more than outweighed by the presence of Rosie Huntington-Whiteley? It was a big ask to find someone to replace Megan Fox’s assets but British lingerie model Rosie was named FHM’s sexiest woman of 2011. Physically she easily fills the implausibly hot girlfriend role. Bay knows he’s working with a thing of beauty, panning the camera down her body in the middle of action sequences.

Unfortunately her performance has been chewed, swallowed, digested and vomited onto a pile of steaming fresh elephant dung by every single critic. Surprisingly I thought her acting was worse when she was simply required to scream. We see her getting dressed from behind briefly at one point and in a couple of revealing dresses but not sufficiently unclothed to warrant the price of admission. Having said that Bay does his best to reduce every single female extra to eye candy by ordering them to strut about or look scared in something short.

6)      On the plus side! John Malkovich appears in what might be a mildly amusing but pointless cameo in a film that was at least an hour shorter.

7)      Ken Jeong also shows up as essentially his character from The Hangover, minus any of the sometimes funny rudeness. He is vital to one of the many baffling and needless sub plots. Which leads me to reason number eight…

8)      A glorious two and a half hour runtime may make any of the microscopically good things in this film meaningless but it has its beneficial effects as a sedative. You’ll be capable of falling into a sleep so deep that a succession of nuclear wars wouldn’t wake you after Bay has left you numbed and extremely bored by repetitive scenes of endless destruction.

9)      Actually there aren’t even 10 fake reasons to see it.

I have completely failed to live up to my nickname of Optimist Prime…

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Doctor Who: Series 6: Episode 2 – Day of the Moon


Mmmm….

Whilst I was primarily wowed by last week’s opener to the new series, I wasn’t the only one having worries about the abundance of plotlines being introduced and secrets set up. And with this second episode, cracks in Moffat’s genius are beginning to show.

I know I never thought I’d hear myself say a bad thing about the man. But Day of the Moon simply tried to do too much. The really sad and disappointing thing about it is that it’s made of sublime component parts; it just didn’t work as well as it could have done as a complete whole.

The start of the episode was really impressive. All three companions seemingly hunted and gunned down in stunning and iconic American locations by the FBI. The Doctor locked up in Area 51 with a striking beard and strait jacket. Then of course a brilliant escape. It’s here perhaps that the flaws start to show however. Was anyone else baffled by the need for such an elaborate plan? Especially when later in the episode they simply wheel out President Nixon as the ultimate authority in their favour? Ultimately you can ignore the implausibility of our Timelord’s scheme for the added benefits to the drama; the cinematic scale of Americans locations, the stunning CGI shot of Apollo 11, a swimming pool dive from River and a seemingly bearded and beaten Doctor.

It’s later in the episode, around the middle, when the dialogue gets so bogged down with secrets that can’t yet be revealed, that as a standalone episode Day of the Moon begins to unravel somewhat. It’s simply unsatisfying for an audience to have so little payoff on the hints of huge revelations. In many ways Day of the Moon is too similar to the first episode; I was expecting it to leave a great many of the secrets untouched, to wrap up the story of The Silence in suitably engrossing style. In the end the Doctor sees off the terrifying foes rather easily, even if we’re told that this isn’t quite the end of them.

With the concluding two parter of the last series Moffat demonstrated his understanding of the impact of contrast, and there is not enough contrast between these first two episodes. The scenes in the children’s home are too similar to those in the tunnels at the end of The Impossible Astronaut. They have some wonderfully, typically Moffat ideas that are truly haunting, but throw in all the stuff about Amy’s baby and the completely confusing space suit and it’s all too much. These scenes with images of “Get out” scrawled on the walls and markings on Amy’s skin could have formed the foundation to a brilliant episode, but they are overshadowed by random but no doubt significant moments like the woman saying “she’s just dreaming” from behind the door. They also don’t sit right with the light hearted, race against time that’s the rest of the episode.

I’m not saying that I did not enjoy Day of the Moon. I am probably just bitter because it so completely baffled me and I’ll look back on it more fondly with hindsight. There were undoubtedly more than a handful of classic moments, and some brilliant dialogue. But it all just felt rather disjointed and overloaded. The relationships and jealousies between the companions are almost beginning to resemble soap opera. Here’s hoping that next week delivers a cracking and clever story truly independent of the secrets of the series.

Of course I’m not going to sign off without mentioning the Timelord child. Is it Amy and the Doctor’s? That’s the constant suggestion, which means it’s not as simple as it seems. Not that it does seem simple. I’m confused. And I have mixed feelings about it. Whilst Moffat should continue to push the boundaries of the character and take risks, he also could push it too far. One thing’s for certain; it’s worth sticking with the series to find out if its fetish for cliff-hangers becomes misguided or is sheer genius.

Doctor Who: Series 6: Episode 1 – The Impossible Astronaut


I was blown away by last night’s opener to the new series. It has once again confirmed my belief that Steven Moffat is an absolute, scientifically certified genius. He joins the handful of men whose lives I would like to steal, perhaps via some sort of wickedly clever sci-fi device, that of course, damn him, only he could probably dream up.

I was always a fan of Russell T. Davies and both Eccleston’s and Tennant’s Doctors, but for me there’s no doubt that Davies was always playing things safe now. Moffat has grabbed the nation’s beloved Timelord by the lapels and thrown him headlong into a series of interlinked stories, that are simultaneously the same and completely new. By taking risks Moffat has shown just how masterfully clever, funny, scary and gripping Doctor Who can be. People really ought to see that this is Television at its best, and writing at its best. If they don’t they are dullards with tame imaginations and bland dreams. When they blew out birthday candles as a child they probably wished that the trains would run on time. I’m sticking my neck out here.

But I’m being so uncharacteristically passionate and assured of myself for good reason: The Impossible Astronaut was an impossibly confident and swaggering opening to any series in the world. It wasn’t trying to please or conforming to any tried and tested formula. It was the realisation of playful ideas and desires formed in Moffat’s marvellous head. As several commentators have remarked, this is probably how Moffat always wished Doctor Who should be. He loved it but he knew it could be better. With all of time and space to play with, Doctor Who should never be safe, never be predictable, and never be limited. It should always be surprising and inventive. Moffat sees this.

And how I missed that music! The bow tie, the tweed, that blue box and Doctor Who Confidential!

With last year’s climatic two parter, Moffat showed he could do story arcs, drama and spot on contrast better than his predecessor. This time he’s once again wonderfully flipped expectations on their heads by beginning his second series at the helm with all the secrets and emotional punches of a series finale. And he set it in glorious 60s America!

FROM NOW ON THE SPOILERS BEGIN

He killed the bloody Doctor! In the first episode! And in all interviews he insists it’s real death, seemingly inescapable death, an end beyond even the healing powers of regeneration. All the clues within the show suggest it’s the actual end of the Doctor. Knowing Moffat, the answers to this, the biggest question of all, certainly will not be resolved in the second episode. Of course there’ll probably be a get out but knowing Moffat, not an easy one. The implications will hang over the entire series. And given the way he ended the last series, with the mysterious manipulator of the Tardis still hidden, and the half built Tardis in the Lodger unexplained (it turned up last night though!?), he could well carry the question of the Doctor’s death over to his third series.

 After all the Doctor we’re left with is two hundred years younger than the one so thrillingly and absorbingly killed. Moffat sent him gallivanting through history at the beginning, something Davies would never have done but is far truer to the potential of the character. He is not hopelessly tied to companions; he can travel in time for god’s sake.

The Silence are brilliant monsters. In appearance they pay gothic homage to the classic Roswell alien, but their defining ability is so very Moffat; you look away and you forget you ever saw them. Hence the tagline: “Monsters are real”. The image of them in Secret Service suits was so iconic and striking and scary, but not all that original. Crucially with Moffat it’s the ideas that have to be good first and foremost.

All the performances are improved from last time out, and in particular Smith as the Doctor himself is now completely confident. The role is his own. Moffat’s more intriguing Doctor is his Doctor and vice versa; the writing makes him so good, but Moffat’s writing also needs talented interpretation and portrayal.

So many questions were raised; I worry for even Moffat’s genius as to how they are resolved. The impact of any story arc will be diminished if every episode is so packed with “what ifs” as this one. It can’t maintain such a pace and accommodate endless secrets too. But obviously if I see this, so does the wise one. He’ll have more hints than previous series, rewarding the diehard viewer, but each episode will stand alone and grip in itself. And as I said earlier, Moffat’s disregard of convention will ensure that he doesn’t feel he has to resolve every question in this series. Why shouldn’t he throw all his good ideas at us at once and string them out tantalisingly?

I would now only begin to repeat the more eloquent words of more qualified commentators, so I shall stop and treat myself to watching the episode again. In the meantime check out The Guardian’s excellent, weekly post-show blog and feel free to check back here regularly for my own thoughts.

http://www.guardian.co.uk/tv-and-radio/tvandradioblog/2011/apr/23/doctor-who-the-impossible-astronaut

All hail Moffat! Long live Who!

P.S. He’s put the Who back in Doctor Who and he says this is intentional. Thank goodness, let’s see more of the dark side to such a powerful and fascinating character!