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Black panther review- You’ve never seen a superhero film like this

It’s only February, but Marvel have wasted no time in giving the world the first superhero film of the year, and it’s set a huge bar for the rest of the year. Considering Infinity War is next, you’d think Black Panther would mainly act as an excuse to set it up, but I was surprised at just how different and standalone this film was in relation to the rest of the Marvel Cinematic Universe. Yes, the awesome intro is there, Stan Lee has his usual hilarious one-liner and there are after credits scenes but for the most part Black Panther is the most unique and out there Marvel film. You’ll never see a blockbuster or superhero film like it. This movie serves as a massive statement to critics who complain about all superhero films being the same- I dare the superhero cynics to find another mainstream blockbuster film that features a mainly black cast which serves as a celebration of African culture whilst also dealing with Shakespearean ideals about loyalty, disillusionment, identity and colonialism, tackles modern day issues such as immigration and inequality, has an utterly unique, Oscar-worthy visual design and world building that presents a fully detailed country with its own laws and customs which also happens to be plain fun (Black Panther 2 won’t count). Until there’s another one, I’m going to assume those critics have no idea what they’re talking about.

 

As the film’s been out in most countries for about a week and it’s been released in America now, I will be spoiling the film, although not massively.

Continuing on from his awesome introduction and arc in Civil War, T’Challa/Black Panther/The coolest character in the MCU returns home to Wakanda to be crowed king. Things are not so easy though, as he soon gets involved in a global plot which revolves around vibranium smuggling, the return of Ulysses Klaw and a threat to the throne of Wakanda. Already the film sets itself apart from the rest of Marvel by having a relativity contained plot- after the awesome action scene in South Korea (Marvel really loves filming there) the rest of the film is set entirely in Wakanda and has very personal stakes. But the uniqueness doesn’t end there, as this is a very thematic and dramatic film a world away from the buddy comedy of Thor: Ragnarok. Through the different tribes of Wakanda, incredibly topical issues are raised that are very relevant for today’s world. T’Challa believes in Wakanda’s isolation as he does not want the resources of his country being taken away by foreign powers like the rest of Africa, but at the same time he rules the most technologically advanced nation on the planet and believes this to be the right way, leaving the rest of the world behind to face their own problems. W’Kabi fears that Wakanda’s involvement in world affairs will bring unneeded immigration and integration, which risks Wakanda being just another country and Killmonger believes that Wakanda should be the leaders of the world and that it is justified, seeing how Western cultures took over Africa during the 19th century and how black people have been treated even now. His motivations make absolute sense. I was very surprised as to how political this movie was, but it wasn’t done in a hamfisted or preachy manner. It enhanced the film and made it a lot more complex than the usual blockbuster.

Speaking of Killmonger, he’s probably the best villain Marvel has ever done. Like Loki, he is a very complex and interesting character who opposes the hero in a far more interesting manner than just being evil. His motivations make total sense, his actions are justified and he gets a complete character arc which is immensely satisfying to watch. There’s also the return of Ulyssess Klaw, who is great fun to watch. The film’s villains are all great and Marvel have definitely improved on this front. This bodes well for Thanos. A great villain is nothing without a great hero, but fortunately Black Panther is an awesome character. He commands the screen every second he is on screen and in his solo film he is perhaps even more well thought out than his amazing introduction in Civil War. He is a hero who doesn’t see himself as one and definetly doesn’t see himself as a superhero, yet his actions and character are all heroic. He’s become one of my favourite Marvel heroes as he isn’t afraid to make mistakes and even do things that antagonise others, as long as it’s in the service of his goals.

The world of Wakanda and the highly unique style this film has is simply amazing. The film combines futuristic technology with African culture, and it’s so interesting to watch. Marvel have successfully made politics interesting- albeit the politics of a fictional nation which seems a lot cooler and a lot more well run than most countries today. That’s kind of the point though, as fear of expanding and helping others is one of the main conflicts of the film. For all the wider themes at play, this is still a comic book film, and the action is amazing. The fighting is very intense and quite different from the usual Marvel action and it reminded me in places of a 12-rated Logan. The final battle is also awesome and the film is never boring, always offering up something new and interesting. The links to the wider MCU are very thin, with only Klaw, minor references to Civil War and a hilarious Martin Freeman as Everett Ross offering wider links to the universe. I appreciate this though, as being bogged down in references would have alienated casual audiences. The standalone nature gives Ryan Coogler to tell his own story and put a unique stamp on Marvel, which he has done immensely well. As much as I am looking forward to Infinity War, I am desperate for a Black Panther sequel to return to this unique world.

In conclusion, I highly reccomend Black Panther, even if you are not a huge superhero fan. It’s different enough to stand on its own and it has a lot to say about race, diversity and building relationships, very relevant in today’s world. It’s one of Marvel’s best films and I wouldn’t be surprised if there’s at least a bit of recognition from next year’s Oscars for this film. Next up, it’s a film ten years in the making- Infinity War. April can’t come soon enough.

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5 hopes for Chris Chibnall’s era

It’s been over a month since Steven Moffat ended his tenure as showrunner of Doctor Who. Whilst I would do a retrospective, I feel like I’ve discussed his era too much in the past. For now, let’s look to the future and what Chris Chibnall has in store for Whovians. Outside of casting we don’t know too much about his era, which is great. I do have faith in him to deliver a strong run but here’s a list of things I hope he follows through on. I did a list before the Series 9 finale about wishes for Series 10, which were mostly fulfilled (two new interesting companions, great returning monsters and cool new ones and a better balance of story and character). My other two weren’t really followed through on (a consistent costume and more alien planets) so they are on this list as honourable mentions. I do like the Thirteenth Doctor’s costume so far, but I need to see it in action and let it sink in.

So, let’s dive into what I would like to see in Chris Chibnall’s era-

  • A new, original arc

I cannot stress this enough, but a series without the Daleks, Cybermen or the Master would be brilliant. I don’t think the latter two are appearing but the Daleks almost certainly will, which would be fine as long as they aren’t the story arc.

Remember (ba-dum) how effective the Silence were? We had a brand new, original threat for basically two seasons. You could argue the Series 6 arc teetered out of control and that the Silence were wasted but the fact remains that Steven Moffat created a fascinating new villain along with a highly engaging arc. I hope Chris Chibnall does the same and creates new threats, supporting characters, worlds and arcs.

Without trying to sound like I’m bias, the RTD era really had this under control. We had Ood and Weeping Angels, Torchwood and Sarah Jane, three trips to New Earth and well thought out, interesting arcs. Moffat had this in a way with Matt Smith (Silence and Angels, River and the Paternoster Gang and the Silence Will Fall arc) but Peter Capaldi’s run suffered from a lack of originality. Am I a good man? That was basically Eleven’s arc in Series 6. The companion and the Doctor are in a dangerous partnership? Explored in the God Complex. It’s why I loved Series 10, as rehabilitating the Master had never been done before. But there can still be more.

Have a cosmic war. Have a chase across time and space by bounty hunters. Have the Great Old Ones return, ready to wreck havoc across the universe. Have Rassilon plot an elaborate revenge against the Doctor. I would love Chris Chibnall to just go nuts with his story arcs and ideas. Don’t just rely on old enemies or retread old ideas, do something truly captivating and original. The whole universe can be explored, why are the arcs so Earth focused and why is everything something from the Doctor’s past? Move away from sequels to Classic Who or yet more Time War angst and do something new.

  • Good villains

Without looking them up, how many Twelfth Doctor villains can you name? As in proper, compelling, original villains (Missy doesn’t count). My guess is that you can’t name many, as most of them weren’t really villains and the ones that were weren’t very good. The Monks were promising but ended up being just the Silence, and there really isn’t that much from Twelve’s rogue’s gallery. There’s the Boneless yes, but what else?

William Hartnell battled cosmic entities and rogue Time Lords. Tom Baker encountered the last of the Osrians, the Guardians of Time and more. Sylvester McCoy fought Fenric, a being from beyond comprehension and David Tennant battled the Devil. My point is that Peter Capaldi’s rogues were a bit less impressive. Oh no, lion people. Oh no, sleep dust monsters. Watch out for the weird robot owl thing and you better hide from the terrifying King Hydroflax!

He looks cool, but try thinking of a single line the Fisher King said. And I like this story.

My wish for Thirteen is that she gets some amazing villains. They don’t have to be sympathetic or misunderstood, you can just make them evil. Is there a single redeeming quality about the Mara, or the Family of Blood? No, they’re just evil. It would help if they had some depth but sometimes they can be just evil. As long as they’re interesting, the audience will care. It says a lot when the best villain last series was a CGI wolf with tentacles.

  • Have fun

Let’s not beat around the bush here, Doctor Who is at its best when it’s dark. There’s a reason Phillip Hinchfliffe’s era is beloved. However, it’s important to have fun and embrace the camp. Having the Doctor be light hearted, caring and zany is hugely important, and unfortunately Twelve was none of that, at first anyway. The show turned utterly serious and dour with plot points like the Moon being an egg and flying Cybermen being treated incredibly seriously without any acknowledgement to the stupidness of the concepts (and the show itself is stupid. It’s about a shape shifting alien who flies in a box through time and space. But that’s what makes it great). Tom Baker had dark stories, but he was still a buffon who tripped over his scarf. Jon Pertwee was a snarky know-it-all who loved driving and David Tennant had some of the most mature storylines in the show’s history,  yet he still randomly referenced pop culture, had a positive attitude and made jokes, all whilst managing to maintain the darkness of the storylines.

Sometimes it’s good to go dark. Inferno, Waters of Mars, Curse of Fenric, The Doctor Falls- all very dark. But don’t have the basic outlook of the show be dark. Why did I like Robot of Sherwood and The Return of Doctor Mysterio? Because they were fun. Why did the fanbase dislike them? They were different from the typical Twelfth Doctor episode. Twelve was out of character for those as he was acting the way any other Doctor would act in those situations- having fun. My advice for Chris Chibnall is- lighten it up when it’s appropriate. When there are dark storylines, have them be dark. When there are light hearted or goofy scenarios, have fun. This is why having a lighter, nicer Doctor helps.

  • Take risks and don’t spoil things early

I’m going to go on a slight tangent and bring up The Last Jedi. Nothing about that film is what you’d expect. Luke Skywalker is a jaded old man and Snoke, the supposed big bad of the new trilogy, is killed off. Think about how risky that is, and how refreshing it was. Iron Man 3 does something similar with the Mandarin, turning the character from a generic bad guy to a metaphor about modern media and manipulation.

My point is, Chibnall really needs to think outside the box. Don’t give the audience what they’re expecting and subvert expectations. Of course it was going to be Missy in the Vault. But what if it wasn’t? Of course the Doctor wasn’t really working for the Monks. But what if he was? The funny thing about that last example is that Skulduggery Pleasant did a similar plot point in Resurrection, released the same week as Lie of the Land (having the main character turn evil) but actually stuck to it. That’s a risk.

The show has taken risks in the past, such as Heaven Sent, but I want more. Truly challenge the audience and make them think about the show they’re watching. What if the mysterious box in the TARDIS isn’t the arc, but the companion we’ve been following throughout the series has been working for the bad guys the whole time? What if the Earth is invaded by aliens in the most painfully generic plot imaginable, only for the Doctor to realise that they’re not on Earth and are actually on a game show? That’s the kind of risk I’m talking about. Extremis is a great example of a risk that worked.

There have been episodes in the Capaldi era that took risks, but the show as a whole needs to do more risky things, especially in regards to the story arcs. Do something that will shatter expectations and make the audience react. Don’t fear backlash, just go for it. Chibnall also needs to make sure the risks pay off- Series 8 had a dark and depressed Doctor but it didn’t really work as nothing was being subverted- he was just angry and miserable. How about a pure historical? Or a non-linear episode? Or (dare I say it?) a musical episode? As long as they’re good then the fans won’t mind.

How about a pure historical musical?

Never mind.

Also, don’t spoil things. How much more awesome would John Simm’s reveal in World Enough and Time have been if it hadn’t been spoilt? The Internet would have gone nuts. I know it’s harder to keep secrets know but the BBC need to have some degree of control over spoilers.

  • A consistent time slot

What time is Doctor Who on THIS WEEK?

This is less about the show itself and more about scheduling. Back in the day, David Tennant’s Doctor would be on TV at around 7:00. OK, so I stayed up slightly later on Saturday. But with Peter Capaldi, I didn’t know what time the show was on as it was never consistent. Sometimes it was 7, sometimes it was 8:35. You’d think with a Spring start Series 10 would not fall victim to this, but as early as Smile the schedule was being pushed around for… football. I respect that people like watching football, but if Doctor Who is on at a certain time, I want it to be on at that time and not have to wait to see if the episode will be pushed back a week just because people can’t kick a ball in time. Seriously, is there not a separate channel for sports? That would be the only hiccup you’d think, but no, it happened again for Pyramid at the End of the World and then the show was aired even earlier to accommodate a new BBC show. Hey Beeb, maybe it’s not a good idea to start a new show when your flagship sci-fi show is currently airing.

Little things like it airing five minutes before or later than last week really bug me. Is it so hard to just have a slot for Doctor Who? It’s managed with the other shows. Even Peter Capaldi has spoken out about this, and it’s believe to be one of the reasons he left, despite initially stating he was going to do more than three seasons. With Series 11 not airing until autumn, I’m worried that the same thing will happen with Series 8 and 9- instead of putting the show in that magical slot known as “before Strictly Come Dancing”, the Beeb are just going to put it afterwards and air it depending on how long Strictly lasts. It got even worse in Series 9 when the BBC chose not to air the show before the Rugby World Cup, rather letting the show run through it. Great move guys, maybe this is why the viewing figures have tanked.

If I was managing the BBC, I would air the show at 6:00-6:50 every Saturday. This way, the whole family can eat dinner whilst watching (which was the point of airing the show at around that time anyway) and there won’t be any conflicts. It’ll be autumn so it’ll be dark so any scary episodes will be appropriate and the show will not air too early or too late. I really hope this is sorted out and I hope Chris Chibnall actually has a say in this as he has a lot riding on this series (if the viewing figures are low, the BBC will just assume it’s because of Jodie Whittaker being the first female Doctor). I know when the show is on every week because I watch every week and make sure to check when it’s on but the general public, who drop in and out, will not be as dedicated as me. The show needs a proper time slot.

So, those are five points I hope Chris Chibnall expands on in his era. Have some original ideas, some great villains, have fun but don’t forget to take risks, don’t let anything be spoilt in advance and don’t let the show air inconsistently. Let’s wait and see.

Twice Upon a Time review

What an exciting time to be a Whovian. We have a new showrunner and a female Doctor on the way, but before we get there, we had the final story of the highly interesting Peter Capaldi era, and by an extension Steven Moffat’s time as showrunner. By “interesting” I mean that no matter what you think of this past era, whether you think it’s a new Golden Age or a complete mess (I’ve seen strong arguments for both sides), it has been fascinating to watch. It has all come to an end with the incredibly low key adventure Twice Upon a Time. This story had a lot riding on it- it had to write off the Twelfth Doctor, give the First Doctor a good reason to regenerate, follow through on one of the absolute best Doctor Who stories and a very strong series and do all that whilst being cohesive. Did it do that? Mostly.

Let’s deal with the elephant in the room here- this was not the First Doctor. Whilst I’m not denying that David Bradley did a great job recreating William Hartnell’s tics and mannerisms, Steven Moffat’s writing just really let the side down. I understand what he was trying to do- he was using the First Doctor as a way to critique 60’s attitudes and mentality and show how far the show has come. The issue is that it goes against the First Doctor’s character. Yes, in Season 1 he was incredibly condescending, rude and abrasive to everyone. But this is supposed to be the Tenth Planet First Doctor in Season 4, who is a lot more like his future selves and accepting of everyone. Any sexist or discriminatory remarks or actions were a product of the time the stories were made, not the character himself. The First Doctor has been established as being the same as the others in mentality, as all the references to his childhood on Gallifrey refer to the idea that Time Lords have no set gender. So why One would be condescending towards women?

Another issue is that Moffat’s intentions are good, but not necessary because the show has done a fantastic job of moving away from the 60’s mentality. Having a female Doctor is a strong enough statement to show that the show has come far from the idea that the female companion was second tier to the masculine Doctor and companions (even then, Barbara is an excellent character who is a very strong female companion in the 60’s). We’ve had strong, diverse characters and the show has made great leaps in progress. Moffat really didn’t need to emphasise the differences between the 60’s and now because people know. Fans know that Toberman from Tomb of the Cybermen is not equatable to Martha, Mickey and Bill and that the modern era’s strong female characters are evidence of the show changing.

So, other than that massive issue, how was the episode? Pretty decent.

Whilst I would have loved the Twelfth Doctor to regenerate in The Doctor Falls, I was pretty happy with this episode. The best aspect of it is how it fixed one of my biggest problems with the Capaldi era and actually brought together all three seasons of his era together. His era had felt disjointed and unconnected, with no real continuity between them. This is probably due to Moffat completely changing Twelve’s behaviour and story arcs after Series 8 flopped with many people. After that you had Series 9, seen as an improvement by some but more of the same for others. Following this there was Series 10 which had a completely different tone and style again. In contrast to the other New Series Doctors, Capaldi’s run hasn’t been the most connected or well thought out.

So when everything got connected here, I was happy. Rusty the Dalek was a great callback, the stupid stupid memory wipe was erased and Clara returned briefly, which despite everything I’ve said about her I really liked. It was a great way to connect the era and I liked how Bill and Nardole were incorporated as well, allowing Twelve to say goodbye to all his companions. I would have liked to see Missy as well so that the Doctor would know she ultimately died fighting for him but that’s a minor gripe. Capaldi’s era has been retroactively improved by the inclusion of Clara in this story and the removal of one of the worst aspects of Hell Bent. I might actually like it now. Emphasis on “might”.

The story itself was very interesting and it had great ideas. The Testimony are a great idea which I would like to see again, and it’s great that they weren’t a villain and the situation were a misunderstanding. Although I am desperate for truly evil and memorable villains in the show again. The inclusion of the General was great, as he added some gravitas to the story and connected the plot to the wider Whoniverse. The Christmas Truce was a great touch with real meaning and weight to it, although I saw it coming. There isn’t too much to the plot, as there isn’t really one, but I can forgive it as it was more of a character piece. But again, I am so desperate for in depth stories and monsters again. It’s also great how this story brought Bill back without ruining her departure in the finale, which I thought was excellent.

Despite having many issues with the First Doctor, I did like some aspects of his interactions with the Twelfth Doctor. I loved how he learnt about change and how seeing his future set him on the path to regenerate, and the opening scene with The Tenth Planet was amazing. The Twelfth Doctor was utter gold, and it’s one of his best portrayals. The Doctor Falls was all about the Doctor earning his rest after so many years of fighting, whilst Twice Upon a Time is about him deciding he doesn’t need it and that the universe would be worse off without him. To top it all off, we get an amazing final speech and one final, brilliant performance from Peter Capaldi. Even in his worst scripts, he has shone.

So in conclusion, pretty decent. This wouldn’t make my Top 10 Capaldi stories or my Top 5 Christmas Specials but it was pretty enjoyable on the whole. Can’t wait for the next series.

That’s it.

Wait, there was something else?

Oh yeah, Jodie Whittaker as the Thirteenth Doctor.

I’ll be absolutely honest here and say that this is the quickest I have accepted a new Doctor. Excluding David Tennant, who was my first, it took me roughly around Vampires of Venice to truly “get” Matt Smith’s Doctor (now my favourite) and I don’t know when I accepted Peter Capaldi. It certainly took a while, but by The Zygon Inversion I truly got into his incarnation and until Series 10 before I consistently enjoyed him. With Jodie Whittaker, all it took for me to see her as the Doctor was her grin and proclaiming “Oh brilliant”, before being immediately thrown out of an exploding TARDIS in the most Doctorly sequence imaginable. I’m sold already.

Bring on Series 11.

The Last Jedi review

I have a new philosophy concerning Christmas- it isn’t Christmas until I’ve seen Star Wars and Christmas is over once Doctor Who finishes. Unfortunately, this has led to a very short Christmas for me, as I only saw Star Wars yesterday as I’ve been working throughout the month (how have I been publishing Doctor Who posts all month then? Scheduling!) and it’s Christmas Day tomorrow. This doesn’t matter though, as in a great year for fandom, Star Wars ends the year on a high. The Last Jedi is amazing, and I do not understand how this film could be so controversial, especially when this is the same franchise with Jar Jar Binks and midichlorins present.  Keep in mind I will be spoiling the film as it has been out for over a week now so if you’re one of the three people who haven’t seen this film, then watch it first before proceeding.

Continuing immediately from The Force Awakens, this film wastes no time in setting up the story, with a truly epic opening sequence that feels like a movie in and of itself. Following this, the movie splits into two- Finn, Poe and Leia are escaping from the First Order with the rest of the Resistance, and Rey has gone to find Luke Skywalker. All is not as it seems though, as there are twists, turns and secrets. My jaw was actually open through a vast majority of this film. I’d call it the best in the series since Empire Strikes Back, and that is a very high bar to reach.

In terms of the old characters, Luke is easily the best. What Rian Johnson does with his character is utterly fascinating, as it gives the audience a glimpse of a new Luke not present in the original trilogy. This Luke is not the heroic Luke we know, this is a broken character who has given up on the Jedi. Character derailment? Heresy? No, it’s development, and doing something new. It would have been easy to just have Luke be Rey’s Obi-Wan or Yoda, but instead he’s a much more complex character than that. He doesn’t want involvement with the conflict or the Jedi because he believes that his part in creating Kylo Ren exposed the true nature of the Jedi to him. By the end of the film, he realises that sometimes winning is failure, and he becomes one with the Force in order to save his friends, coming to terms with who he is as well as the nature of the Force as something that isn’t defined by good or evil. This movie didn’t ruin Luke in my eyes, it made him an even better character than before, and I agree with the people who believe Mark Hamill deserves an Oscar nomination for this film.

Honestly, Luke’s actions in this film tie into one of the biggest themes of this film, which is all about subversion and replacing the old with the new. This film seeks to make the audience question the Star Wars mythos and conventions- there’s no lightsaber battle, no “I have a bad feeling about this” and no real answers on anything. That’s a very good thing however, as the film is still Star Wars due to its themes and ideas- Star Wars has never been about lightsaber duels or catchphrases, it’s been about the characters and wider themes.

Take Snoke for example. He is a clear example of audience expectation versus the real subversion. You would think that he’d be like the Emperor, an all-powerful villain who will dominate the series in the same way Palpatine did in the originals. But no, he’s killed off to be replaced by Kylo Ren as Supreme Leader. Not only does this tie into the idea of the new killing the old, but it acts as another subversion of audience expectations, keeping the franchise alive. Also, he is obviously not dead. The Snoke in this film was probably a clone/hologram or wasn’t even Snoke. Do people really think he would be left unanswered? It’s called a trilogy. He’s not dead and if he is, well, then I will be disappointed. But JJ Abrams was a producer on this film and if he didn’t want Snoke dead he would have intervened, so I can almost guarantee that Snoke will be back.

The other characters’ arcs also tie into the idea of old vs new. Rey (and the audience) want to know about her parents, only for it to be revealed that they were no one special. Anticlimatic? In a way, but also hugely satisfying. The twist represents the film’s idea of the Force as an immense spiritual idea that anyone can have, regardless of if they’re a Jedi. This is what Luke realises, as he comes to the conclusion that it’s the Force, not the Jedi, that should survive, and that regardless of past mistakes, the Force must survive.

Too much analysis? Here’s a Porg.

Another key theme is the blurring of good and evil. Think Luke’s a perfect hero? He still has dark thoughts and is regretful of his past actions. The Jedi were an all-powerful, benevolent force? Nope, because their bureaucratic ways resulted in the emergence of the Empire. Kylo Ren is beyond redemption after killing his father? Definitely not. Even the various subplots tie into this. Poe’s rivalry with Hodo is representative of the darker, more cowardly side of the Resistance, whilst Canto Bight gives the audience a look at the wider universe and shows how there are evil people outside of the First Order. Everything is tied into the wider themes of good and evil, right and wrong and old vs new.

That said, the film never stops being fun. There’s a wide array of creatures, awesome action and it is very funny, funnier than most Star Wars films. The fact that it’s also incredibly dark is a sign of how good the film is. This is one of the most thematically complex and idealogical Star Wars films- I don’t even think Empire Strikes Back delves this deeply into the ideas of the Force and what it represents, as well as delving into the very nature of the franchise. Obviously it’s hard to top the immense nature of Empire, but The Last Jedi comes close.

Are there flaws? There are a couple. Whilst I appreciate it on a thematic level, the whole Canto Bight sequence feels really, really out of place. I like how it gave Finn (my favourite of the new heroes) a plot and it looked great, but it just felt odd. The whole thing was pointless anyway as they don’t even get the master code breaker (who really should have been a bounty hunter, to add to the whole “good and evil are blurred” theme). I also feel that the structure could have been improved- there are multiple climaxes to the film and it could have been paced a bit better. It all was worth it all in the end though.

There is so much to dive into from this film. I haven’t even discussed Kylo Ren’s continuing arc of control over his light and dark, or the ideas about corruption and class divide. It is really a film to think about- smashing expectations, subverting tropes and adding depth and meaning to Star Wars. I can understand the criticisms around The Force Awakens and how it was too similar to A New Hope, but this movie was completely different to any Star Wars film previously, and it was so refreshing. I cannot wait to see how this new trilogy is resolved, and to see the return of Obviously-Not-Dead Snoke. In terms of all the movies I’ve seen this year, only Logan tops it.

My 10 favourite Twelfth Doctor stories

To quote Tom Baker- “It’s the end, but the moment has been prepared for.” We have one more Peter Capaldi story to go so what better time than to look back at the best of his era. It’s been a bumpy ride but the good ultimately outweighed the bad. so let’s not waste any time and dive straight in-

10. Listen

A very strong early Series 8 script, Listen is an incredibly atmospheric and clever standalone that is unlike any other story in the show’s history. The sequences in the children’s home and at the end of the universe are very well written and full of tension and the dialogue is strong throughout. I love the simplicity of the storytelling and how real tension and scares were crafted out of barely anything at all. The final scene where the Doctor’s childhood was revealed could have been terrible, but I think it added to the mythology of the show. I wonder if we’ll get a reference this Christmas.

The great thing about this episode is how everything is ambiguous. The whole concept of fear and whether monsters are real or a figment of people’s imagination is a fascinating concept and one I think the episode handles very well. Watching this was one of the first times I truly saw Peter Capaldi as the Doctor and I love stories where the Doctor is vulnerable or unsure of himself. The only story I can compare this to is The Edge of Destruction, another story with no villain and that focuses entirely on character relationships and atmosphere.

9. The Eaters of Light

One of several Series 10 stories that will pop up on this list, I really love this story. Whilst monster-of-the-week plots tend to fall flat, I found this one to be strong mainly because of the themes presented throughout, such as the theme of colonisation and also about the Doctor’s responsibilities. There are many similarities to Rona Munroe’s previous story Survival, as once again there are a group of youngsters thrown into a world they don’t understand and they have to fend for themselves. I just love stories which have more under the surface.

Having this be the story before the finale really helped in my opinion, as like Boom Town it was linked to the finale through common themes and character exploration. There’s the idea of time dilation, the Doctor and Bill being seperated and the Doctor’s willingness for sacrifice. The monster was great, the TARDIS team were great, especially Nardole, and I adore the pseudo-historical scripts in the show most of the time so this one was right up my alley. The mystical elements of the plot were also really well handled and added to the story rather than detracted.

8. Mummy on the Orient Express

One of the stronger stories from Capaldi’s first year, this story was a breath of fresh air in 2014 and is still entertaining now. On top of being a fun and well paced murder mystery with a Doctor Who vibe, this story is vital in fixing the Doctor and Clara’s relationship after the ending of Kill the Moon (the only good bit about Kill the Moon may I add) and does it very well. One of the best things about this episode was the ending, where the Doctor questions his own morals and comes to term with how Clara sees him. The character growth comes naturally from the story as opposed to being in the foreground, a common problem with this era.

The villains in this were great, with the Foretold being a very memorable monster, and I love the Doctor going solo in this adventure and solving the mystery on his own. Perkins is a really watchable character and I have a hunch that Steven Moffat considered bringing him back as the second companion of Series 10 before settling on Nardole. I adore the steampunk setting and the macabre tone throughout, with the delightfully sadistic Gus being my favourite Series 8 villain. Overall a solid slice of Doctor Who that will be remembered as a highlight of Series 8.

7. Flatline

Considering this story focuses on Clara, I’m amazed I like this story as much as I do. It’s probably due to the incredibly tight script and the fascinating monsters combined with a simple but engaging plot. There are so many brilliant ideas here, such as the shrinking TARDIS, two dimensional beings, the companion becoming the Doctor and at the same time the Doctor learning how others see him through Clara. The best moment comes at the end, when the Doctor tells Clara that she was an “outstanding Doctor. Goodness had nothing to do with it”.

The Boneless are in my opinion the best original villain from the Capaldi era and I would like to see them return some day. This is easily my favourite Clara story, and whilst she’s my least favourite New Series companion I feel this story captured her character the best out of any story in her time as a companion. The whole episode just has a very original and fun vibe to it and it’s a blast every time I watch it. The sequence where the Doctor escapes from the train using his hand is simultaneously hilarious, tense and awesome.

6. Extremis

Despite the conclusion to this three parter being disappointing, Extremis still holds up as an incredibly dark and clever story. As a set up it’s perfect, with The Monks feeling like a true threat and the Doctor’s blindness adding a lot to the stakes in the story. The main plot about the Veritas is a strong enough mystery but it’s the final twist that gives a story a sense of scale and it’s executed perfectly, with the absurd plot (the Pope visiting the Doctor in person, the TARDIS not translating Italian and the gateways around the world) slotting together to make an immensely satisfying whole.

The subplot with Missy and the final act of heroism from the virtual Doctor also sets up the arc for the rest of the series. Nardole is a highlight here, adding humour to the dark story and this was the start of him progressing from an entertaining side character to an awesome companion. This is a very topical story for 2017, as it questions how people can survive in a world full of darkness and it raises questions about what’s real and what’s not. Can a post-Trump and Brexit world still have positives? This story confirms that as long as people do heroic things, it doesn’t matter what the world is like. Extremis is extremely poignant and very meta.

5. The Magician’s Apprentice/The Witch’s Familiar

This story is proof that when Steven Moffat hits, he hits hard. The highlights of this two parter are Missy and the interactions between the Doctor and Davros, with the scenes between them being some of the best of the Capaldi era. Much like the Series 10 finale later on, this story manages to feel small scale and epic at the same time. It was great seeing Skaro again and even better than that was seeing Davros again, with this being one of his finest stories. Some may find the resolution unsatisfying and that all of his character development was erased, but the early scenes still have weight to them when you realise that Davros meant every word he said, even if he hadn’t truly turned good.

Missy’s inclusion helps give the sombre second half humour and she is absolutely hilarious throughout, making the scene where she makes the Doctor almost kills Clara inside the Dalek a hint towards her darker side. She’s my favourite Master and this story confirmed it and I desperately wanted her as a full time companion. I even enjoyed Clara in this story and seeing the other Daleks from the show’s past was brilliant. The whole story is about trust, redemption and regret, and it’s simply wonderful. Whilst Series 9 may have ended poorly, it began with a bang.

4. Oxygen

Otherwise known as “what Kill the Moon should have been”. Oxygen is great because it isn’t just a base under siege/horror story, as good as those aspects of it are, but because it makes a point and serves as a clever satire. There’s no real villain here as the suits are programmed to obey the unseen company controlling them and I appreciate the return to hard sci-fi. Unlike Kill the Moon, the story never forgets that it’s Doctor Who and keeps the satire to a subtext, focusing on the brilliant dynamics between the Doctor, Bill and Nardole and the intense atmosphere.

Having recently watched the Alien movies, rewatching this story allowed me to see the influences those movies had on Oxygen, with the idea of corrupt corporations and human lives being sacrificed for the sake of profit. I always love it when the show tackles interesting ideas and difficult subject matter without losing the core of what makes the show good, which is entertaining sci fi. The story is perfectly paced and features amazing direction and cinematography, with the scene of Bill losing oxygen one of Series 10’s best. A borderline perfect story made even better by its relevance to the arc.

3. Heaven Sent

This is one story. One. Putting aside what actually happened afterwards, let’s just focus on this amazing episode featuring probably the best performance by any Doctor in any story. This looked like it was doomed to failure- the Doctor on his own talking for 55 minutes, with not much plot or action. Despite this, Peter Capaldi completely sells the Doctor’s grief and determination and it’s this episode that solidifies him as probably the best actor to take the part. The whole episode serves as a magnificent analysis of the Doctor’s mind and how he works.

The music is incredible, the direction is some of the show’s best and the whole story is a breathtaking experience. It’s the kind of episode I strive to make one day. It’s not conventional Who at all, but it’s still brilliant and serves as a fantastic metaphor for grief and letting go. The final ten minutes with the billions of Doctors punching through the wall for 4.5 billion years is a scene that will go down in Doctor Who history, with one of the lowest points of the Doctor’s life suddenly turning into the most triumphant. Easily the best episode of Series 9, but my favourite is…

2. The Zygon Invasion/Inversion

This is much more conventional Who than Heaven Sent, but that doesn’t make it worse. Taking the weakest aspect of the 50th and making a two parter out of it was extremely well played on Moffat’s part and makes the 50th even better than it already is. Like the best Jon Pertwee stories, what this story does best is use the current world climate to create a very modern and relevant story. Osgood makes a much better companion than Clara ever did and the story is full of tiny moments that help flesh out the conflict such as the Zygon who kills himself as he wants peace and the implication that these kind of conflicts never achieve anything.

The intense subject matter and themes doesn’t stop it from being highly entertaining, with a great villain in Bonnie and UNIT being plain awesome. This hearkens back to the best of the Jon Pertwee era and as a massive fan of that era this story was obviously going to appeal to me. The gritty direction and sombre mood throughout makes this an immersive experience that’s a hard watch but one that’s very rewarding. Whilst the speech in The Zygon Inversion may overshadow the rest of the story, there’s enough to like in both parts to make this a modern classic.

  1. World Enough and Time/The Doctor Falls

I’ve gushed about this enough, but simply put this is now in my Top 10 stories of all time. Considering it had to write out two companions and featured two Masters, multiple versions of Cybermen and the Doctor’s impending regeneration, I would have been happy if this was merely good. The fact that it’s brilliant in every way is one of Moffat’s finest achievements, with a story which encapsulates who both the Doctor and the Master are. Everything about this story, from the acting to the music and the direction is pitch perfect.

The Cybermen get their best showing in New Who with their origins being masterfully handled and the sheer glee of seeing two Masters on screen is enough to make any fanboy happy. The story is about triumph and who the Doctor really is and his decision to stand and fight the Cybermen makes this a brilliant bookend to his good man arc in Series 8. The themes of the series and the era as a whole are expanded upon and made better by this story. It’s epic and intimate, incredibly dark but also incredibly optimistic and is perfect in every sense of the word.

The superhero films of the year- A look back

With the release of Justice League this past week, the annual bunch of superhero films has come to an end. And what a year it has been for Marvel and DC! Two Batmen, Wonder Woman, Spider-Man, Thor, Wolverine, Baby Groot and more. To me, this has been an outstanding year for comic book movies, so let’s go through one of the craziest, most insane years in superhero film history. We’ll start from the beginning, and there will be spoilers for all movies apart from Justice League and Thor: Ragnarok-

Way back in February, we had the hilarious LEGO Batman Movie. I haven’t seen the LEGO Movie, although I’ve heard it’s good and based on this movie, I will be first in line to the sequel (I’m also hoping for the Doctor to appear in that film). This is a great, fun film for fans of LEGO, DC and good movies. I honestly didn’t expect to love the movie as much as I did.

This movie homages and references all eras of Batman, from the 30’s to Batman V Superman. This Batman is absolutely hilarious, less of a Dark Knight and more of a spoilt rich kid who happens to be a superhero. In the first case of “superhero father problems” this year, Batman has to learn to raise the orphan Dick Grayson as his own son whilst also having to fight off the Joker, whose attempts to get Batman to notice him causes him to ally himself with every villain from every franchise Warner Bros can get their hands on. Behold, as we see Voldemort, Sauron, King Kong, Daleks and more team up with the Joker to invade Gotham City. The results are glorious-

This movie is just awesome. It contains so many references and in-jokes to over 75 years of Batman that I just couldn’t help but love every second of it. This is the first Batman film to have the Bat Family, the first to have Condiment King and the first (and only I think) to have the shark from Jaws defeated by Bat Spray. A great start to a great year of comic book movies.

And now for something completely different in the best comic book film of the year, Logan.

I saw this movie and the LEGO Batman movie less than a month apart. The difference could not be bigger and it’s a testament to the diversity of comic book films that these two movies exist in the same year, let alone a month apart from each other. I’ve gone on about how this movie deserves serious consideration at this year’s Oscars and I still haven’t thought of a single legitimate reason why it wouldn’t. In terms of final bows, I can think of nothing better than Hugh Jackman playing Wolverine for one last time. Please Fox, don’t recast him, just leave this chapter of comic book history alone.

In part two of “superhero father problems” (yes I did just link the LEGO Batman Movie and Logan), an ageing Logan has to care for a dying Professor X in the near future, in the same way Xavier used to care for him. The daddy issues truly come to ahead when Logan ends up on the run with Laura, a young girl who happens to be a genetic clone of Wolverine. Logan now has to care for his “father” and make his “daughter” a better person than him, all the while escaping from the Ravagers. This is easily the darkest and least comic book like superhero film since The Dark Knight and is more like a western character study which happens to have a clawed mutant. This movie delves deep into themes such as redemption and what it means to have a family, and juxtaposes some of the best action scenes I’ve ever seen with complex character dynamics and moments of quiet.

Give. Patrick Stewart. An Oscar. Comic book films honestly don’t get better than this, and I honestly think this should be the last X-Men film (barring Deadpool films, but they’re allowed to exist because they’re Deadpool films). To end one of the oldest ongoing comic book franchises on this note will be so much better than the next continuity confusing X-Men movie. Seriously, the timeline is so confusing and whilst it’s not clear what timeline Logan is set it, I don’t really care seeing how this is a standalone film. The best comic book film this year, no question, and I expect to see this movie reap in many nominations come Oscars season.

Moving on to the giants of superhero movies, the Marvel Cinematic Universe-

Guardians of the Galaxy Vol. 2 is the third part of the unofficial quadrilogy of 2017 superhero films about problematic fathers, and it’s the movie most obviously about the issue. The second Guardians film is a joy to watch, filled with fantastic comedy and great character growth. I’ve touched upon why I love this film previously, but since May I’ve grown to love the film even more, to the point where I love it more than the first film and it’s now one of my favourite MCU films.

This movie has one of the most emotional and powerful stories in the whole MCU, with Star Lord coming to terms with his father and completing his emotional journey across two films. The Guardians go through a lot in this film and whilst they come out on top, their world will never be the same again. Seeing all the arcs and subplots come together in the final act is immensely satisfying. This film is about belonging somewhere and embracing family. Ego is one of Marvel’s best villains, brilliantly playing off Star Lord and giving the movie a sense of real menace. The plot with Rocket and Yondu is my favourite part of the film, as they bond over their reluctance and then acceptance of fatherhood (Rocket with Baby Groot and Yondu with Star Lord).

This is a truly well written and complex movie with every character’s arcs tying into some way about the idea of family, friendship and trust. However, this is still a movie with a talking raccoon, a tiny dancing tree and Taserface, so it’s not all doom and gloom. But it’s the way the hilarious comedy is weaved together with this brilliant story that makes this one of Marvel’s absolute best. I do love the first film, but I honestly believe this film surpasses it in every way. A triumph.

And with that, we move onto the movie I’m so happy ended up being so good, Wonder Woman-

Oh DC, DC, where do we start with DC? I’ll go into their current predicament later, but for now let’s cast our minds back to June, when DC made a movie everyone could agree was good. I honestly prefer DC to Marvel overall (I’ll happily read a Green Lantern comic over any Avengers comic) and I only really like the Marvel characters in movie form. DC on the characters have characters I unreservedly love, especially the Justice League. So I was happy when Wonder Woman was great, as it was such a breath of fresh air for the DCEU movies. I didn’t hate the other films, but this movie was clearly superior to the others.

What this movie nails most of all is how to embrace the silly comic book roots whilst also dealing with incredibly dark themes and ideas. This movie is all about war and it doesn’t sugarcoat it in any way- Diana sees first-hand the horrors of the First World War and has her optimistic view of the world of man shattered. The movie also deals with the idea that humanity is flawed, which is something that Diana fails to grasp, as she sees defeating Ares as the key to ending the war, only to realise it is the humans causing the war with Ares merely guiding them. A lesser movie would have painted the conflict in black and white but Wonder Woman is all about what war really is, as anyone who knows history knows the First World War was far more complex than just good vs evil. It’s a really mature story but at the same time it embraces the comic book roots and has delightfully over the top action and effects. The No Man’s Land scene is, in my opinion, the absolute best scene in any comic book movie this year-

What a scene. I hope future movies write female characters in this way- make them strong because of who they are, not based on their gender (this applies to male characters too). This film could have easily been about how Wonder Woman is awesome because she’s a woman, but instead she’s awesome because of who she is and what she values. Ares is a great villain and I love how the film misdirects the audience into thinking it’s Luddendorf (who was actually a real person whadyya know?) before revealing the much more satisfying and thematically profound answer. This movie embodies who Wonder Woman is and why DC has endured for so long. If it wasn’t for Logan, this would be my favourite film of the year.

Moving on to the most iconic Marvel character, Spider-Man-

Remember how I said I mostly prefer Marvel characters in film form? That’s not the case for Spider-Man. I’m a huge fan of the comic book character, especially the original Stan Lee run. They’re incredibly cheesy but heartfelt and genuine, which is something this movie captures well. One of the highlights of Civil War, it was great to see a fully established Spider-Man and not having to go through the origin again. In Uncle Ben’s place we have Iron Man, whose role as a surrogate father figure and his clashes with Peter make this part four of superhero dads. This Spider-Man is just a normal kid, which I really appreciate, as it’s how the character started.

What works about this movie is how small scale it is. The world is not at stake and it’s not a part of the ongoing Thanos saga- it’s just a standalone film about a kid who wants to be a hero. The small stakes allow the villain to work- and I mean really work. The Vulture looks awesome, is awesome and is the best comic book villain of the year. You understand where he is coming from and why he’s doing what he’s doing, which is not something I can say for a lot of Marvel villains. In terms of characterisation, this Spider-Man is probably the closest we have to Stan Lee’s original vision and it’s great to see the MCU stripped down to Earth. In terms of past Spider-Man films this is very unique as it deals with issues not faced by the other ones, especially seeing how the MCU’s desperately wants to join the Avengers.

This is probably my second favourite Spider-Man film after Spider-Man 2 (which to be fair is a very high bar to reach) and it captures the care free nature of the comic so well. I particularly like the action scenes, as they feel really cartoony and ridiculous, which is what a Spider-Man film should be. I also love how Spider-Man leaves the Vulture alive, setting up not only a possible reunion but also a possible Sinister Six film. It’s also a really funny film, with lots of great laughs. And it’s not even the funniest Marvel film this year! But most importantly, much like Wonder Woman it captures who the main character is perfectly. I still love the original Sam Raimi Spider-Man films more (well, the first two), but this Spider-Man is my favourite. If that makes any sense.

And now to my favourite Marvel character, Thor-

I’ve written a review for this as my last post so I’ll keep it brief- this was my most anticipated movie of the year and it did not disappoint. Everything I want from a Thor movie is here and more. Every character is awesome, with the highlights being Korg (spin-off please!), Valkyrie and the Grandmaster. Thor is as funny as he always is, Hulk is great in a movie that shouldn’t really have him in it, and Loki is just Loki. Even Doctor Strange is awesome for the brief time he’s on screen. Incidentally, both Thor and Doctor Strange are Marvel characters who, like Spider-Man, I love the comics for as well. It’s also so, so funny- as in laugh a minute. It has amazing action, great character development and is the ultimate comic book blast. I can’t really dive into this one seeing how it’s still fairly recent but if you haven’t seen it yet, there’s still time. In short- watch it. Can’t wait for Black Panther and then… Infinity War.

And now for the elephant in the room, Justice League. This movie is causing quite a stir so let’s dive straight into this-

OK, this will be less about the film itself and more to do with the fallout after this movie’s poor box office. Firstly, I’m going to come out and say that I actually like this film. Admittedly it’s mainly because Wonder Woman’s in it and I really like this universe’s Batman now that he doesn’t kill people. Seeing the Justice League together was really cool and I’m glad Superman is actually Superman. The only character I wasn’t too keen on was Aquaman, as I think he was too similar to Thor in terms of personality and didn’t really resemble the comic book character. He could have been any hero. The villain wasn’t too great but overall I still enjoyed watching it. That said…

Let’s talk about the future of the DCEU and how they can improve. At this point the movie is severely under performing at the box office, causing mass panic for Warner Bros. It isn’t superhero fatigue (a term coined by cynical art-house critics; the other six films this year have all performed brilliantly) but mostly due to a lack of faith in DC properties and the mixed reviews. Whilst I basically ignore reviews for superhero films, a lot of people don’t and that has clearly affected Justice League- Wonder Woman was a success due to the positive reviews and its standalone nature, whilst Justice League has the highly divisive Batman V Superman in its shadow.

So what’s the future for DC? I don’t see Wonder Woman 2 being affected seeing how that’s the only successful franchise they have right now. Aquaman is still being released and depending on how successful that is we may have another hit franchise. As for the rest, I think Warner Bros honestly need to step back and think about this carefully. Personally, I would use Flashpoint to restart the universe, keeping everything that works (Wonder Woman) and changing everything else. Start the universe with a Wonder Woman film with the same continuity as her previous films, then do solo films for each Justice League member with the team up film simply called Trinity. I mean, they could make do with the current universe, but the fans have spoken and as a DC fan, I think a fresh start is in order. That said I still enjoyed this version of the Justice League, but I can’t see the current DCEU surviving outside of Wonder Woman.

So after this great year of comic book movies, I honestly think this has been the best year for fandom in ages. Marvel and DC were both on their best and I watched and enjoyed all the films. Next year is set to be even more nuts and if the quality of superhero films can keep up then we’re in for a good year. All we need is The Last Jedi and a good Doctor Who Christmas special to cap this year off in style.

Thor: Ragnarok review

Of all the comic book movies coming out this year, Thor: Ragnarok was easily the one I was anticipating the most. Yes, a LEGO Batman movie, Hugh Jackman’s last performance as Wolverine, the return of the Guardians of the Galaxy, a movie about Wonder Woman, Spider-Man in the Marvel Cinematic Universe and the Justice League on screen was all very exciting (and good, although we don’t know about Justice League. Hope it’s good seeing how awesome Wonder Woman was) but honestly, having my favourite Avenger return after eight movies since The Dark World and a minimal role in Age of Ultron was enough for me to count down the days until October 24th. My hype for this movie even overshadowed my hype for The Last Jedi and equal only to that of Doctor Who and Skulduggery Pleasant. Long story short, this movie was already in my good books from the second it was announced.

And then the Hulk was going to appear. In a loose adaptation of Planet Hulk. Then Doctor Strange was going to appear. Then the trailers came out.

OK, I wanted this movie now.

So, did the movie live up to my Hulk-sized expectations? Yes, yes and yes. Thor: Ragnarok is easily one of the MCU’s best movies, purely because it embraces the comics in such a firm way that it literally is a 60’s comic book brought to life. The last time I had this much fun at a cinema was the first Guardians of the Galaxy, and I consider this movie to be even better than that one, which is already one of Marvel’s best.

Without spoiling too much (the movie still isn’t out in America), the plot, as you probably gathered from the trailers, revolves around Thor having to reclaim Asgard from the clutches of Hela, the goddess of death. His travels lead him to re encountering the Hulk, now a gladiator on a distant planet following his departure from Earth. Together, and with the help of a bounty hunter known as Valkyrie as well as Loki, Thor and Hulk build a team to take back Asgard. It’s a really simple plot and very easy to follow, however it’s still compelling thanks to the characters and action throughout. This movie is not bound by the other movies in the series and can be enjoyed as a standalone. It’s very different from the first two Thor movies yet still finishes his franchise in an incredibly satisfying manner.

The best (and funniest) aspect of the movie is Thor and the various dynamics he has with various characters. His interactions with Loki (I won’t reveal how the ending of The Dark World is resolved) are just as hilarious and complex as ever and despite the constant humour there is still room for some heartfelt conversations. Their relationship really is one of the best in the whole MCU. Loki is just as delightfully wicked and sarcastic as ever and he remains one of the highlights of any movie he’s in.

Then there’s the dynamic with the Hulk which builds upon the character’s previous appearances. I can’t discuss his arc too much without delving into spoilers but I honestly think that this is the best portrayal of the Hulk yet. His appearance makes this movie so much more fun as superheroes working together will never not be cool. I love the juxtaposition of Thor and Hulk’s roles in the first Thor movie and this one- in Thor, Thor was a fish out of water adjusting to Earth. In this film Hulk, or rather Bruce Banner, serves as the fish out of water in Thor’s very alien world. I can’t wait to see these two again in Infinity War.

There are a whole load of new characters and they’re all great. The standout character to me was Korg, an enslaved gladiator who looks like a giant rock monster yet sounds like a soft spoken New Zealander (in fact he’s played by the film’s director, Taika Waititi.) The contrast between his appearance and his voice is hilarious and his personality is incredibly upbeat and fun. I hope he returns for future movies. The other standout character was Valkyrie, who steals every scene she’s in. It’s hard to discuss her arc without spoilers but suffice to say it’s very satisfying. Another character who ended up being surprisingly great was Skurge the Executioner. You wouldn’t think a minor character would have a well rounded arc, but he does and it’s great. Doctor Strange’s appearance in the film is great, but he has a very minor role to play. It is great how the characters can just cross over and this bodes well for the future.

The final main character is the villain, Hela. Marvel have been on a good track record with villains recently with Ego and Vulture both being fantastic. Hela is certainly better than Malekith but at the same time is a step down from the two recent ones. The main problem is that she is off screen for vast amounts of the movie as the story unfolds elsewhere and whilst her backstory is compelling there isn’t much done with it. That said, she’s still a great villain who poses a genuine threat to the heroes. In a movie this entertaining, the villain honestly isn’t the most important aspect. A minor villain who steals the show is the hilariously camp Grandmaster, who runs the gladiator arena Thor finds himself in. Every second he is on screen is utter hilarity. Just watch and see for yourself as he is one of the funniest characters.

The action in this movie is incredible and honestly feels like a comic book come to life. The colour pallate is completely insane and is very unique. Not even the Guardians of the Galaxy movies are this insane. The jokes come thick and fast and this is easily one of the funniest Marvel movies. As a result it may not be for everyone but for anyone who is concerned about how serious this movie is I can say without spoiling that the MCU has been changed in a major way and that the path for Infinity War has been set. I cannot wait.

All in all, I highly recommend Thor: Ragnarok. It’s easy to get into without needing context for the other Marvel movies, although it does help. It’s a non stop thrill ride that never stops having fun whilst continuing both the stories of Thor and the wider Marvel universe. For a Marvel and Thor fan, this movie was an absolute blast and anyone who loves Marvel will almost certainly have a good time.

Preparing for Ragnarok: The Thor-athon

Thor: Ragnarok is almost here (in the UK anyway) and to say I’m excited is putting it mildly. My favourite Avenger teaming up with the Hulk and Doctor Strange? Sign me up! Add on top of that the amazing trailers and great reviews and my excitement levels for this movie has hit peak levels. What better time than to reflect on the God of Thunder’s previous movie outings?

Let’s start by discussing one of my favourite Marvel movies, the first Thor. I feel like I’m in a minority here but I still consider this to be an outstanding movie and easily the best origin movie for Marvel. The best part about this movie is the intense character work at play- it almost feels like a Shakespeare story (although given the fact that Kenneth Branagh directed this movie I think that was intentional).

Thor goes through major character development. He starts the movie off as an arrogant prince who believes himself to be superior to others and acts rashly to impress Odin. Then, when he is banished he believes all he needs to do to get back to Asgard is to reclaim his hammer. This is not what needs to happen however, as he realises he needs to learn humility and defeat in order to return. It is so satisfying seeing this character development, which turns Thor into the more well rounded and fun character present in the Avengers movies.

The other fantastic character is Loki, who is still the best MCU villain by far. He is such a complex character who despite his selfish actions is easy to sympathise with and relate to. All he wanted was the same level of respect as Thor, however the way he sought that attention was wrong. He’s the kind of character we don’t get enough of in comic book movies- villains who don’t want world domination or the destruction of the universe. Personal stakes are sometimes so much more compelling than huge stakes, and that’s ultimately what Thor is about. The story is a simple story of brotherhood and family drama yet it’s shrouded in a familiar comic book tone, meaning this movie can appeal to anyone.

What an amazing scene this is. Tom Hiddleston is a fantastic actor and I think he’d be a great Bond.

Are there flaws with the first Thor film? I suppose the Earth characters are not as fleshed out or interesting as the Asgardians, despite there being really funny scenes on Earth, such as this-

The problem is that the romance between Thor and Jane isn’t the greatest subplot in the world and the portions on Earth tend to drag more than the Asgard scenes. It’s all worth it however for when the two stories combine and Thor returns to Asgard to battle Loki. In a fantastic final scene, Thor breaks the rainbow bridge to save Jotunheim but he is unable to return to Earth and reunite with Jane. He makes the sacrifice for the greater good of Asgard, becoming the hero he always wanted to be. The stage is set brilliantly for The Avengers.

Our next trip to Asgard is often called the weakest Marvel movie and I both agree and disagree. On the one hand, Thor: The Dark World is one of the simpler Marvel movies with many flaws that I’ll go into and it lacks the emotion and character of the first film. That said, it’s still very entertaining and a great popcorn film that acts as a very good refresher between the character driven Iron Man 3 and the game changing Captain America: The Winter Soldier, if you’re watching the MCU in order.

Let’s start with the biggest negative here- Malekith. Marvel had Christopher Eccleston, an actual Doctor, playing the main villain and he’s completely wasted. He has no motivation, hardly speaks, is barely in the movie and is generally a wasted villain. This is a problem with other villains such as Ronan the Accuser but he had a very strong screen presence and was a genuine threat even if his character was a bit thin. Malekith on the other hand is just dull, especially compared to his charismatic comic book version. If Christopher Eccleston’s commitments to this film was the main reason he couldn’t do the Doctor Who 50th anniversary, then it’s a real shame that his role in Thor was so lacklustre (at least we got John Hurt in Doctor Who, so it’s really a two sided coin).

OK, onto the good stuff, as I do think there’s a lot of good in this movie that makes me ultimately enjoy it. The best thing about this movie is the humorous yet complex dynamic between Thor and Loki. Loki is a very interesting character in this movie as he isn’t the villain yet still does not have the best intentions, as the ending shows. He is forced to work with Thor and despite their antagonism he clearly still respects Thor. Their Asgard escape is my favourite part of the film, as it has both of them working together and frequently butting heads in hilarious ways-

The plot is actually very clever and despite Malekith being a weak villain, the Dark Elves as a collective are very cool. The siege of Asgard is very fun, being kicked off by an awesome scene of Heimdall taking down a Dark Elf ship and ending with the death of Frigga. This portion of the film truly embraces the comic book nonsense of Marvel and is a joy to behold. One thing I love about this movie is how quick paced and action packed it is yet it still has time for quiet character moments such as the conversation between Thor and Loki after their mum’s death-

The third act of the movie is fantastic. After escaping Asgard, Thor, Loki and Jane arrive in Iceland- sorry, The Dark World- and Loki seemingly dies. This was a great misdirection and a genius way to up the stakes of the movie. The battle for the Aether then reaches London and the Dark Elves invade Greenwich, forcing Thor to take the Tube-

He should just be glad it wasn’t rush hour. Trust me, that is not something you want to be stuck in. I don’t live in London but I have been caught in Tube rush hour a few times when I’ve been there and I fully sympathise with the people who have to commute every day.

After a great duel across dimensions, taking in Jotunheim, the Gherkin and the Dark World, the MCU’s weakest villain is defeated and regenerates into David Tennant (not really). There isn’t really much to discuss in terms of themes when it comes to this film as it is just a bit of fun, so I can see why people dislike it, but I still really enjoy it. It is one of the weaker MCU films, but considering how good they usually are that’s still an indication of a fun film.

Overall, whilst I do understand why some people find the Thor movies to be among the weaker movies made by Marvel Studios, I don’t really agree. The first movie is in my top five favourite MCU movies and the second is still very fun. I cannot wait for Ragnarok (I’m watching it on opening day, so I expect a full cinema) and given that it is currently critically acclaimed I can assume that the Thor franchise will end on a high.

The Nightmare Before Christmas review and why it’s awesome

Well, if you can’t beat them, join them. After years trying to physically combat Halloween I thought- why not just join in the fun? Everyone spends this month gushing about their favourite horror movies and whilst I’m not a horror movie fan, I am a fan of the awesome, holiday blending classic The Nightmare Before Christmas. What better time than to look back on one of my favourite movies? December? Probably, but October is as good as time as any. I mean, it’s always a good time to watch the Nightmare Before Christmas, but October and December are the best. I know it’s only the 4th of October and we have a while before Halloween but that hasn’t stopped the shops so it won’t stop me (although it seems to me Halloween is dying a slow and painful death in this country, which is great. Perhaps we could focus on a non-stupid holiday). Anyway, let’s dive straight into this-

The main reason why I like this movie? The songs. Rather than use them randomly, The Nightmare Before Christmas uses the songs to build a unique world. One of the reasons I’m not a huge Disney fan (I am aware that this movie is technically a Disney movie but I digress) is that the songs just seem pointless and tacked onto pre-established stories that didn’t have singing in them. The Nightmare Before Christmas is an original universe telling an original story and it uses songs as part of that universe. That’s how to make a musical I like. And with brilliant songs such as This Is Halloween, Jack’s Lament and The Oogie Boogie Song, which is my favourite, the singing and music just makes this movie what it is.

The world is so well detailed. Halloweentown feels like a real place full of really fun and interesting characters such as the Mayor with the rotating happy/sad face, the trio of consecutively smaller people who hide in each other’s hats, the vampires, the ooze guy and my personal favourite, the big tree with skeletons on him. None of these characters are fleshed out or given backstories but they don’t need to be- this really is a movie where you just enjoy the ride rather than try and look too deeply into anything. The whole idea of multiple holidays co-existing is also too cool for words and I would love to see the other holidays team up with the residents of Halloweentown and battle Oogie Boogie, Krampus and other holiday villains. However, at the same time I’m glad there haven’t been any sequels to this movie and how it exits on its own. The attention to detail and minor details such as a spider being the Mayor’s tie is amazing.

Jack Skellington is a great protagonist and I love the simplicity of his story. He tries to do the best but messes up, so he moves on and learns from his mistakes to try and be a better person. Sometimes that’s all a character needs. He is also one of the coolest looking characters ever, and between him and Skulduggery Pleasant I think I really like skeletal characters. I will admit that the romance “arc” between Jack and Sally comes out of nowhere and the two characters barely know each other until the end. It’s a pretty out of nowhere ending. It’s almost like Disney forced Tim Burton (who didn’t direct it despite his name being on the movie) and Henry Sellick (who directed this movie and the equally awesome Coraline) to include a romance. Incidentally, despite producing the movie Disney found the movie too dark to release it under the mainstream Disney banner, instead releasing it under Touchstone Pictures. However, they have brought the film into their mainstream banner due to the popularity it has gotten. This now means Nightmare Before Christmas is officially a Disney movie, and not in a Marvel or Star Wars sense- I mean a proper sense. Well, I guess that’s two Disney movies I like (this and the first Pirates of the Caribbean).

The Christmas elements are so well integrated into the film. It shifts from a creepy Halloween movie to a full on Christmas film for a few scenes before merging the two brilliantly. I adore the use of colours in this film, with the Halloween scenes being lit in grey and blacks whilst the Christmas scenes are all about bright reds and greens, perfectly contrasting each other. Even the music switches, with the sombre violins and moody sounds switching to cheery bells and trumpets. Making Christmas perfectly combines the two worlds in one of the film’s best sequences-

The stop motion involved is nothing short of breathtaking. The movie was made over 20 years ago yet it still looks perfect, with the stop motion animation truly making the movie unique and fun to look at. The style is perfect for the offbeat tone that the movie is channeling and I honestly couldn’t imagine this movie working with conventional animation, 2D or 3D. The film took two years to animate but it was ultimately worth it as the movie still holds up even now. It makes me wonder why stop motion animation isn’t more popular when this movie essentially showed the world it could work. This film is also a reminder that just because the movie is half about a holiday I don’t like and is in a genre I don’t like doesn’t mean I won’t like it. A good movie can come from anywhere and be about anything, as long as it’s good.

Overall, I still love this movie after all these years. It really was the first movie I remember really liking and rewatching again and again on DVD, to the extent where I think I watched it every day at one point. Despite the fact it isn’t very deep or thought provoking, The Nightmare Before Christmas is a fantastic Halloween and Christmas movie that I recommend everbody watches no matter their age. It certainly made an impact on me. So this Halloween, watch The Nightmare Before Christmas and get immersed in the greatest non-Futurama musical ever.

Incidentally, this isn’t an endorsement of Halloween after my long war against it. I still think it’s highly pointless but if you have to do something for it, watching an awesome movie would be a pretty good way to spend an evening. Like I said though, any day’s a good day for The Nightmare Before Christmas.

The Doctor Falls: One of my new favourite stories ever

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I have loved Series 10 of Doctor Who but as always, the quality of the series would always depend on the strength on how it was wrapped up in the finale. Just look at last series, where a mostly strong run of episodes was let down by the incredibly disappointing and lacklustre Hell Bent, making the entire series feel pointless in hindsight. Here however, we have the exact opposite happen, as Steven Moffat has learnt from his mistakes in the past and created a truly brilliant finale that has taken a place in my favourite stories list.

Let’s talk set up first because obviously this is a two parter. World Enough and Time (no idea what that title means but oh well) was a great set up with pitch perfect pacing and an incredibly macabre tone throughout. As a huge Cyberman fan I loved seeing the New Series utilise the body horror aspect, with the emotional inhibitors not preventing the pain of conversion, merely preventing it. The time dilation also added a huge amount of tension to the episode, as every second the Doctor, Nardole and Missy spent at the top of the ship meant the closer Bill got to full conversion, which of course eventually happened. Like most part ones, it was mainly set up for The Doctor Falls, but it was fantastic nonetheless. Missy was brilliant as always (I love her sonic umbrella) and seeing John Simm return was glorious. I figured out that Razor was the Master by about his second scene, but that didn’t stop the reveal being executed perfectly. If the BBC hadn’t let the news be leaked beforehand, then I reckon the Master’s reveal would go down as one of the finest twists in the show.

Part two was where the main meat of the story comes into play, as the Masters are forced to work with the Doctor due to the Cybermen turning on them. It was a simple story and what I loved about it was that the universe wasn’t under threat: it was just one floor of a spaceship. This didn’t stop the story from feeling truly epic in scope however. This story really capitalises on who the Doctor really is, as his phenomenal speech to the Masters shows. He doesn’t travel the universe to win or to fight villains- he travels the universe and helps people because it’s right. I see this speech as Peter Capaldi’s defining moment, and John Simm’s reaction is hilarious.

The best finales in New Who- The Big Bang, Last of the Time Lords, Death in Heaven and this- not only tell a great story but make the entire series connect together thematically and making every story feel like part of a bigger picture. The Doctor Falls is no exception, as the themes of the series are explored in full. The idea of the value of individual lives from Oxygen is brought back, the idea of time dilation and the Doctor’s willingness to throw his life away from others from The Eaters of Light are expanded upon and the Monk trilogy is linked with Bill’s resistance to Cyber conversion. There’s also been Missy’s redemption arc which started in Extremis and of course the resolution to Bill’s story from The Pilot. This story just made re watching Series 10 so much better.

I’ll admit I’ve never enjoyed the Twelfth Doctor as much as the Tenth or Eleventh Doctors, despite still being great (mainly due to Clara hogging up two thirds of his era) even though Series 10 has made me love him more and more thanks to companions who weren’t irritating, but for this two parter, Peter Capaldi was quite possibly the best Doctor ever. Seriously, I wish this would have been the regeneration story, but we’ll have to wait and see whether the Christmas Special is a worthy send off for the Twelfth Doctor. I’m curious as to why he refuses to regenerate, but we’ll have to wait till Christmas. I’m so happy the cause of regeneration for him was a Cyberman, as I’ve wanted them to actually kill a Doctor. His arc in this episode is superb as he will do whatever it takes to defeat the Cybermen, even if it means his death. I cannot wait to see how this incarnation leaves. I have a feeling the Christmas special will be standalone but linked to this story in the same way Waters of Mars and Day of the Doctor were linked to the regeneration stories of Ten and Eleven.

Another one of the best aspects of the story was how Missy’s arc was handled. She’s been my favourite Master since Death in Heaven (although Roger Delgado will always be the best Master) and she got a superb send off. I love how the arc of the series has evolved from what’s in the vault to the question of whether Missy will truly change. Her scenes in Lie of the Land were the highlight of that episode and she’s a highlight here, with her final scene of self sacrifice and redemption being masterful (pun totally intended). I love how in Series 8 she tried to turn the Doctor onto her side, whilst throughout this series the Doctor is trying to turn her onto his side. It just show that even between all the fighting, they ultimately care for each other deeply. I adore the conversation the Doctor has with Bill in World Enough and Time about how he and the Master were friends, as it shows Steven Moffat understands the incredibly deep relationship the two characters have. Her arc this series was beautiful and wonderfully done, as she stands with the Doctor at the end and kills her previous self before dying herself. It’s a perfect end for the character and the fact that the Doctor may never know she turned good is utterly devastating yet appropriate.

Now onto John Simm. I’ve read some reviews that have said he was underused, but I disagree. He serves many purposes in the story such as being the catalyst of the Cyberman plot as well as to serve as a contrast to Missy. Moffat understands the Tennant era Master stories and from those stories it’s pretty obvious that the Master is without redemption. In Last of the Time Lords he chooses to die rather than be forgiven and in the End of Time he fights Rassilon out of revenge, not redemption. In The Doctor Falls, his only motive is to return to his TARDIS due to his plan failing. He doesn’t care about the Doctor’s struggle and his death and offscreen regeneration into who we assume is Missy is appropriate for this incarnation. In one last moment of evil, he essentially kills himself due to his refusal to turn good. I love the Tennant Master stories but this is definitely the best story to feature John Simm’s Master, and his Delgado-esque beard and rubbish disguise in the first part are brilliant Classic Series references. His presence in this also adds to one of the themes of the story- much like how the Doctor and Bill do not wish to live if they couldn’t be themselves, the Master would rather die than see himself changed.

This series has had not one but two awesome companions, and they both got great send offs here (well, Nardole got a send off. I’ve heard Bill is coming back in some form for the Christmas special). One of the surprise highlights of the series has been Nardole. I’ve always loved companions who are different from the norm and Nardole was certainly that. He was able to give many incredibly dark stories some humour and levity. His mini-arc in this story is subtly done but great, as he ends his travels with the Doctor to act as a protector, much like he’s done throughout the series. I wish his backstory was expanded upon, but there’s always Big Finish. Who would of thought that the bumbling fool from Husbands of River Song could end up blowing up Cybermen with a rifle and some computer hacking?

As awesome as Nardole was throughout the series, he wasn’t the main companion. Bill has become my second favourite New Series companion after Donna and I feel like this story was a good ending for her. I would have liked another series with her but Donna didn’t get another series so it’s fine. I was concerned that Bill’s Cyber conversion would be ignored but it was a major part of The Doctor Falls, utilising the psychological aspects of the Cybermen. I’m once again going to defend a controversial aspect of the episode and say that I really liked Bill’s departure. It didn’t undo her conversion and I feel like it wrapped up her arc well. It is similar to Clara’s, but to me Clara’s departure in Hell Bent was pointless as she already had a perfectly good ending in Face the Raven that was the perfect end to her character arc. Bringing her back just felt unnecessary. In contrast, Bill’s arc all series is all about her eagerness to explore the universe. What happened to her wasn’t her fault and no one, not even Adric, deserved a Cyber conversion without any sort of reward at the end. Killing Bill off would have been going against her character and the spirit of the show, as her death wouldn’t have been a heroic sacrifice like Adric’s or Clara’s. Now, she’s allowed to travel the universe with a new perspective thanks to her travels with the Doctor. That said, what kind of an alien race has the resources to make immortal, intelligent all-powerful oil? If the oil from the spaceship is that powerful, how powerful must the aliens themselves be? Sequel, Chibnall, sequel! It also helps that The Doctor Falls didn’t spend the majority of its run time saying goodbye to a companion who had already left three times and instead actually told a story.

On top of all the character development and themes, this story doesn’t forget to just be awesome. Three types of Cybermen (I would have liked to see the Eeeexcellent Cybermen from the 80’s but it doesn’t matter), two Masters and even a surprise First Doctor cameo! The scene where the Doctor blows up the Cybermen is nothing short of breathtaking. Not only is it symbolic of the Doctor’s final stand and packed with continuity references, but it’s just plain awesome to watch. The scene of the Cybermen flying up from the bottom of the ship is all kinds of cool and the soundtrack throughout the episode is glorious. As much as I like Death in Heaven, the Cybermen were ultimately superfluous to the story, whereas they were the main enemy here. This story was in the end a base under siege and wasn’t over complicated or convoluted- just a simple story.

In conclusion, World Enough and Time/The Doctor Falls has easily earned a place in my top ten Doctor Who stories of all time. The pitfalls of the era have been forgiven due to this absolutely magnificent story that felt epic but at the same time restrained. Everything I’ve wanted in the Capaldi era from the beginning was present here, and as much as I’ve loved a lot of his era, no story (not even Heaven Sent, which was let down by what followed) was as amazing as the best of David Tennant and Matt Smith until now. This story is up there with The God Complex, Waters of Mars, Kinda and Inferno as the show hitting on all cylinders and with everything working. I cannot wait for Christmas and cannot wait to write up my Top 10 Peter Capaldi episodes afterwards.