Monday, 31 August 2009

Oasis

DVD, Enterprise S1 (Oasis)

They do a good line in creeping round empty ships. I've lost count of how many times this has happened in this season, but I can't say I'm tired of it yet! Although the central concept is really a carbon copy of the 'DS9' Season Two episode 'Shadowplay', it was a good enough idea that it bears repeating with new characters and a different spin. I could be wrong, but the rather spectacular-looking trader who sets them off on their 'ghost' hunt seemed to be called Damar. An oversight, using a name that is familiar to regular viewers of Trek as a whole? Perhaps, or maybe it was another little nod to 'DS9' since the main reason this episode is special is for giving Rene Auberjonois, most famous for playing Odo, a guest role as an alien engineer.

It's a shame it wasn't Odo that was somehow on the crashed ship, but Auberjonois is a close second in my wishlist. He wasn't in it all that much, but he did prove your memories of 'DS9' correct by drawing you in to his character's plight, and that of his daughter. It was a pleasure to see him in a Trek role, two years after his series ended, and made me wish even more that he could come back regularly in some way. There are also almost subconcious references to 'Voyager' - Liana is first seen in the airponics bay, and has that elfin Kes look. And Trip asks if a holographic Doctor is a likely possibility!

The episode itself had a modicum of success in giving more of the main characters screen time, such as Travis continuing his role as creepy storyteller. There is also some humour in T'Pol's reminders of Trip's exploits on the Xyrillian ship earlier in the season. I think the episode is as good as its inspiration, though not better, and continues what has been a strong opening season. Actors from other series' are always welcome, too.

***

Unimatrix Zero, part I

DVD, Voyager S6 (Unimatrix Zero, part I)

Most of the Borg episodes of Voyager have an added energy and urgency compared to most, and this is no exception, although all out action is sacrificed for a more thoughtful story. What if Borg could dream? It appears a very small percentage of drones have a gene that brings them to the dream state of the title, and we get a chance to see what Seven could become eventually. The idea of a Borg revolution from within is a fantastic new direction for a race that were becoming a little boring. At the same time you can't keep a villain terrifying if you know too much about them, so each time the race appear their impact is lessened. The revolution idea helps to draw attention away from this, and provides a reason for Janeway to once again battle the feared cybernetic beings, in what could be called a second part of the Borg Queen trilogy.

Susanna Thompson never had the depth of Alice Krige's film original, coming across like a more conventional megalomaniac villainness who has a personal vendetta with our Captain. Arguably the Borg were scarier when they didn't have an obvious leader to interact with, but the film 'First Contact' felt it needed an opposing face to confront, so the Queen was introduced. As she's here and she's not going away you have to make the best of it, and they came up with a reasonable entrance, amid some exciting CGI in this episode. One factor I would cite as something to change would be the fact she speaks verbally to her drones, when the point of the Borg is that they are interconnected. These scenes would work better if we hear her voice, but it's disembodied. If she merely showed the emotions on her face it would be more powerful and spooky.

But the episode gives us a chance for more Borg battling, both hand to hand, and ship to ship, with some nice moments for some of the cast (except Neelix who only appears in one scene looking shocked in the background), such as Paris' reinstatement to Lieutenant, which he lost in Season Five, or Tuvok's mind 'bridge'. Knowing the events of Part II, the ending loses a lot of its shock value, but I can never remember being that concerned about the three Starfleet officers who end up assimilated. You knew they'd be back for the next season. Probably.

There are chances to see Borg attacking, Klingon Bat'leth fighting and hope for some of those assimilated. It's a well rounded episode. When I first saw it I felt the humanising of some of the drones in their dream world lessened the Borg as a threat, but the truth is, that had already happened, as Voyager chipped away their threat level each time they encountered them. Now I see the potential, and feel excited by the prospect of emancipation for the Borg, and the undermining of their relentless power has intriguing possibilities.

****

Unimatrix Zero, part I

DVD, Voyager S6 (Unimatrix Zero, part I)

Most of the Borg episodes of Voyager have an added energy and urgency compared to most, and this is no exception, although all out action is sacrificed for a more thoughtful story. What if Borg could dream? It appears a very small percentage of drones have a gene that brings them to the dream state of the title, and we get a chance to see what Seven could become eventually. The idea of a Borg revolution from within is a fantastic new direction for a race that were becoming a little boring. At the same time you can't keep a villain terrifying if you know too much about them, so each time the race appear their impact is lessened. The revolution idea helps to draw attention away from this, and provides a reason for Janeway to once again battle the feared cybernetic beings, in what could be called a second part of the Borg Queen trilogy.

Susanna Thompson never had the depth of Alice Krige's film original, coming across like a more conventional megalomaniac villainness who has a personal vendetta with our Captain. Arguably the Borg were scarier when they didn't have an obvious leader to interact with, but the film 'First Contact' felt it needed an opposing face to confront, so the Queen was introduced. As she's here and she's not going away you have to make the best of it, and they came up with a reasonable entrance, amid some exciting CGI in this episode. One factor I would cite as something to change would be the fact she speaks verbally to her drones, when the point of the Borg is that they are interconnected. These scenes would work better if we hear her voice, but it's disembodied. If she merely showed the emotions on her face it would be more powerful and spooky.

But the episode gives us a chance for more Borg battling, both hand to hand, and ship to ship, with some nice moments for some of the cast (except Neelix who only appears in one scene looking shocked in the background), such as Paris' reinstatement to Lieutenant, which he lost in Season Five, or Tuvok's mind 'bridge'. Knowing the events of Part II, the ending loses a lot of its shock value, but I can never remember being that concerned about the three Starfleet officers who end up assimilated. You knew they'd be back for the next season. Probably.

There are chances to see Borg attacking, Klingon Bat'leth fighting and hope for some of those assimilated. It's a well rounded episode. When I first saw it I felt the humanising of some of the drones in their dream world lessened the Borg as a threat, but the truth is, that had already happened, as Voyager chipped away their threat level each time they encountered them. Now I see the potential, and feel excited by the prospect of emancipation for the Borg, and the undermining of their relentless power has intriguing possibilities.

****

Wake-Up Walmington

DVD, Dad's Army S9 (Wake-Up Walmington)

Season Nine, the final year, starts off well with a tale of Captain Mainwaring working with Hodges to try to shock the town out of its complacency by pretending to be a group of Fifth Columnists and desperadoes! As usual, the plan doesn't work out as they expected, with Hodges getting biffed and Captain Square coming after them. It refers back to the episode where they dressed as German soldiers and reintroduces some of the recurring characters, such as Square, the Colonel, the Vicar, the Verger and Mr. Bluett (in his last appearance - "I 'ate you!" he tells Hodges), probably my favourite non-regular.

In one respect it's quite a sad episode because it shows how old many of the actors have become. John LeMesurier in particular was ill and looked very gaunt, and you can see the trouble he had getting some of his lines out. Even Captain Mainwaring himself, Arthur Lowe, isn't quite as sharp as before, although Frazer still is, to his pride. Poor Godfrey is relegated to indoor scenes and looks terribly tired, which is probably why some of the younger characters that pop up on occasion were used more this season. But it still gives a few chuckles, such as when the Verger mixes up a phone message or the platoon first appear at the old Mill in their cutthroat costumes! Funny that we learn in the series' time frame only two years have passed, although in reality it had been almost a decade.

***

Star Trek II: The Wrath of Khan

DVD, Star Trek II: The Wrath of Khan (1982) film

Starting in reverse chronology: the best theme music ever! Spock's death was as affecting as always. Having recorded the end music many years ago I had relived that portion on several occasions and it is the strongest point in the film, with Scotty's bagpipes and such sadness of death and sacrifice. Beautiful. I was not disappointed watching this film, but I did feel less excited, which is, sadly, as Kirk found in the film, to do with growing older. The young mind of ten or fifteen years back is no longer so easily engaged. This is what happens with time, but even apart from the nostalgia it's still a strong experience. Though I have to be honest and say I don't think it's still the great film it once seemed. Common opinion is that this is the best of the Trek films, and I would agree that it is a better film than the first one, but there are several factors that undermine its qualities in some ways.

For one thing, to save money they reused a fair few scenes from the first film. The Kobayashi Maru test features the footage of the Klingons; there are shots of the Enterprise leaving spacedock; Kirk's shuttle docking, little bits and pieces like that which are noticeable. The other thing is, I feel they should have done a proper Director's Edition like 'The Motion Picture', which would have given them a chance to tie up the seams that were beginning to show at times, and improve the sound quality of the dialogue, which occasionally was not the best.

Being older I unfortunately notice periods that are slow or have visual suspects. Such as the end scene which I always remembered as being Spock in a completely closed chamber, but this time I could see through a gap in the revolving doors and my attention wandered to that. It's supposed to be sealed shut to prevent radiation leaking out! I wouldn't go as far as to say the design or sets were shoddy, far from it, they build on what was established in the first film, but like that door, there are occasional oversights, that lessen the impact and show the seams. Likewise in the opening sequence it seemed less dramatic than I recalled. At least the story logic holds up to scrutiny, compared with the liberties taken in the most recent film! 

There is still great drama and character to it, and it was obviously brilliant to have the original Khan back. Some characters get more of the limelight than others, with Chekov and Scotty having more to do than Sulu and Uhura, but they all get moments in some films. Another brilliant touch was to see now-Commander Kyle on the Reliant, and having Vulcan speech, little things that show that this could only be Trek. I always thought of this as my favourite Star Trek film and though I expected to be less impressed, having seen so many films now, it did seem less of the all-out attention-grabber of previous viewings. Khan still breathes quality and is one of the best screen villains I've seen, and the characters are noticeably more themselves than 'TMP' and the effects generally hold up pretty well, with the beautiful and atmospheric nebula battle.

I think all that's happened is that it's lost some of it's gloss for me, as everything does with time. Perhaps the 'scary' bits no longer seem a bit daring as I'm sure they did back when I saw it as a child. I'm glad they made more films, but perhaps if this had been the last it would have meant much more as it did to me in the past. Perhaps more modern films have superceded it in terms of balance ('Generations' and 'First Contact' specifically), but for the deep and considered moving of events, it's still very special.

I wondered if Joachim, Khan's lieutenant, could have been his son. Yes, it had only been fifteen years or so (according to Khan, but this was set in 2285, whereas 'Space Seed' was 2266, so surely it should be eighteen or nineteen years?), but maybe genetically enhanced children would grow up quicker? That would also give a satisfying balance to the film as Kirk's son is involved. One of the strongest parts of the ending is David's acceptance of his Father. If the film had ended on Spock's torpedo firing out, it wouldn't have been as positive, but the scenes after leave you feeling there is hope, after all.

****

The Forsaken

DVD, DS9 S1 (The Forsaken)

Who is the 'Forsaken'? Is it the computer lifeform... maybe it's Odo, since we get some back story for him, or it might be Lwaxana, who reveals a quiet loneliness when she's in the turbolift. It's certainly not Bashir, who would simply love to be forsaken by the trio of ambassadors he is plagued with looking after. I think the first half of the episode has its moments, such as Odo's embarrassed run-in with Lwaxana, and the grumpiness of the ambassadors, but perhaps is let down by the O'Brien sub-story, about the probe, which doesn't really go anywhere except to facilitate the other two storylines. It would have had more resonance as it was originally meant to set up Anara, his Bajoran assistant, who would go on to be integral to the final episode of the season, but for some reason she was replaced by Neela.

The second half is a lot better as Odo reveals his state if he can't relax into liquid. Mrs. Troi also does some honest admittance, one of the few episodes where we see her as she really is, inside that outgoing bubble of projected confidence and verve. It's so good to have a character who was acting in the original series almost thirty years before 'DS9', and although she's already been heard as the Runabout's or other Starfleet ship's computer, her return to a recurring character that stretches back to Season One of 'TNG' seals this series even more into being 'Star Trek', if the other guest characters hadn't already done that. And she's the first of the original crew to appear on the station!

The trio of terrors that are Bashir's problem, and our B-story are an entertaining bunch. In the 'DS9' tradition, there's a Vulcan who is a bit different (he always wants to poke his nose into station business), and we get the first proper Bolian role (although they had been seen in the background in other episodes this season). Sisko's delight at the Doc's distress makes for some humour, but it is the satisfying turnaround as Julian's quick thinking save their lives. I don't think it is quite the classic that I previously regarded it as, but still a strong episode, with enough likeable scenes and situations to be worth seeing, especially as it provides some insight into why Odo is the way he is in a social sense.

***

The Man Who Shot Liberty Valance

DVD, The Man Who Shot Liberty Valance (1962) film

One of my two favourite Westerns, and I've seen many, this and 'El Dorado' are the best! This is a much sadder and more poignant film compared to the other, though made only four years before it, its in Black and White, but this only adds to its feeling of age, the telling of a time in America's past, when the gun still ruled, but also the beginnings of change as the viloent men began to be beaten down by the power of democracy and the introduction of the vote.

One of the main draws is seeing James Stewart and John Wayne in a film together. Both tend to play the same characters in all their films, but with subtle differences, and the same could be said here. But you get behind them, and the air of danger and suspense whenever the villain Liberty Valance comes in, mean, nasty, with a heavy whip to dish out retribution for the smallest misdemeanour, is potent, making the stand against him more heroic, and seemingly foolish.

One of the main reasons I love this film is the cosiness of its story. It takes place in the back of a busy restaurant, or the poky newspaper office, and all these places are filled with interesting characters, with full personalities. The best may well be Dutten Peabody, the principled editor who writes the truth despite what he knows will come. He's a comical and a pitied character, with his vice of drunkenness, or going to the bar to buy courage as he might put it.

The style of having the film's main story as a flashback, told by some of its old characters is very enjoyable as we see what has changed since the events of the film. And the fact that the title might not be as straightforward as expected makes for even more interest. If you've never seen it, it's a film I would recommend.

****

Mission: Impossible 2

DVD, Mission: Impossible 2 (2000) film

The style, the tone, the lighting, the characters, the theme music, the gadgets, the stunts - it's all running at high performance. Ethan's long hair is a symbol of the film itself: it lets it's hair down and just goes for everything with no compromise. The heartrending decisions, played out to hauntingly beautiful singing; the confident and shocking opening; the heart thumping little chords that herald a moment of danger or emotion; even the way the first few seconds grab your ears and eyes...

The best film of it's kind, better than 'The Matrix', Bond and the other 'Mission: Impossible' films by an assured approach that always takes things to the next level, the cast included. Importantly the direction is crafted, almost every shot a chance for art. A bit like the way 'The Matrix' was directed. Like graphic novel frames, with flair and verve, moving images that impress for their composition as much as their content. The weaving of the pieces together so that Nyah becomes the centre of all revolutions around her. I don't appreciate the innuendo, but the romance is well presented, especially the Spanish dancing, and it's scenes like this that make it more than a simple-headed action film. It helps that the casting department got it so right.

Every single character has something to them that helps them stand out. Even characters that are in the film only briefly, such as the bald, nervous-looking accountant of McCloy, or Dr Nekorvich, seem just right. Dougray Scott has enough irony and bile to prove a worth adversary for Hunt, with deep eyes of evil, yet he also has a dark sense of humour; Thandie Newton is likeable as the lynchpin of the plot, and of course it's brilliant to have Luther back as the main source of humour, along for the ride with Billy, the Australian, the pair playing off each other well. The Australian is like an older version of Ed from 'BUGS', and is far better than the second banana in the other films (eg: the Irish fella in 'M:I3').

It seems many people consider this the least of the 'Mission: Impossible' films, perhaps because they see it as just another action film, and because it isn't necessarily the closest to the original TV series. There is something to be said for not having affiliations or preconceptions. I had never seen the series, or the first film, when I saw this at the cinema, so I didn't have to make comparisons. I hadn't ever seen a film like it, and it was a great summer film, full of brightness and beauty and sleekness. I know what it's like from both angles, since I was in the opposite camp for the eleventh 'Star Trek' film: I knew the series' and other films very well and didn't appreciate the changes. With this, I was fresh to it, so see how people who didn't know Trek at all could be blown away by something I found disappointing. Likewise, those who loved 'Mission: Impossible' and were disgusted with this - I get that. It doesn't have the same ensemble direction that made it true to the series, and it became focused mainly on Ethan Hunt as an action man.

But I feel the character filled in a gap. This was before Bourne came along, yet Hunt has those same characteristics of being a humane hero, who tries to do the right thing (one of the key 'originalities' that made Bourne successful in appealing to a wider audience), and Bond had lost much of its impact and invention, 'The World Is Not Enough' not really making for a great film in my opinion (I hear 'Die Another Day' wasn't that special either). So 'M:I2' was the only one of its kind at the time, and the decision to make this sequel radically different to the last film was in the spirit of the series, in that each episode followed a different format. This was continued for 'M:I3', which wasn't as successful in my eyes for jumping on the Bourne/Bond style of jerky camera, and trying to be more 'realistic'.

The most obvious aspect of this film is its style. Yes, it goes into fantasy, and has some macho posturing such as the motorbikes as chargers, and the extended thumping scene at the end, but the stunts are superb, and YOU CAN SEE EVERY PART OF THEM! This is the main draw for me, on top of the style and perfectly suited score. My biggest annoyance with films of this decade is that you can't see what's going on very well because of extreme cutting and camera shake. This film shows how the tempo can be kept up without losing the details. Slow-motion, multiple views, not cut, cut, cut, and cut again; a supposedly more realistic way of presentation, as if you're in the thick of the action. The point is, I don't want to be in the middle of it, I want to see it. These are films, not fairground rides. Rant over: 'M:I2' gives you a visual... I won't say feast, it's more like fast food, but the stunts are as powerful and amazing as when I was first blown away at the cinema.

Cruise, Woo and the rest of the cast made an epic rollercoaster. The best bit has to be the cool Hugh Stamp being sorted out and then Hunt running away with the virus, ripping his false face off in perhaps the most 'wow' moment I've ever seen! Fights, acrobatics, humour, bike chase, foot chase, guns, surprises, helicopter, explosions. It has everything a film needs and more. I wish more films could be like this, really.

*****

If Wishes Were Horses

DVD, DS9 S1 (If Wishes Were Horses)

It's good to have a more lighthearted story, with a bit of mystery, after the more serious 'Progress'. This reminded me of 'Babel' in that it is a true ensemble piece, everyone getting a look in and no obvious leads. The O'Brien family is always nice to see, and little Molly is very cute. I wonder if they didn't actually have her in the scenes with Rumpelstiltskin so as not to scare her, as she is holding O'Brien's hand when they go back in the bedroom, but you can't see her. Then again, they do have her near him in one of the last scenes, but she's being held my Keiko.

The episode was a chance to have a bit of fun, go a bit wild, and I think that's the only weakness of it - it wasn't quite as visceral or strange or wild as would have made it work fully - more like the man on fire that rushes at Kira in a blazing explosion. The sets were all a bit too light, there was never really any sinister elements to the imaginations. They chose a more amusing side to it, which could have been milked even more. Michael John Anderson as Rumpelstiltskin did a great performance, as did Keone Young, with his nostalgic conversation about baseball, and even more in the final scene when Buck Bokai returns to explain to Sisko how meeting him has helped his people realise new things, such as the concept of imagination. Although... if they didn't understand imagination how did they go round the universe appearing as imaginary things to make contact? Oh well, they weren't Vulcans, so their lack of logic doesn't matter.

Vulcans did play a part in their historical remembrances, filling in a little piece of 200 years ago (Archer's time!) about a ship that got dragged into an anomaly. The double Dax trouble was terribly embarrassing for poor Dr. Bashir. I get the feeling some of the other characters such as O'Brien and Kira would have had fun with that if they weren't feeling so sheepish from their own experiences! I think they should have used the effect more as it was very real looking. I remembered the emus, but the snow was quite a surprise. A shame we didn't get to see more of that, too! The more episodes with Odo and Quark scenes, the better. This one starts with the pair at odds as usual. Quark's full of joy, and Odo's in a grouch.

I always enjoy episodes where all is not what it seems. This is a good one, but not quite as good as possible, and there is a little too much technobabble towards the end, so it can be easy to zone out a bit. At the same time I appreciate the effort to remain theoretically science-proof, and it all sounds clever, but it contributed a bit in making it feel a bit more like a 'TNG' episode, with a bit of a drier, clean-cut story than 'DS9' usually does.

***

Tuesday, 25 August 2009

Acquisition

DVD, Enterprise S1 (Acquisition)

Oddly, I didn't find this as funny as I remembered it, and I know I saw it twice because on its original run on Channel 4 they repeated the first half-season's episodes. It still is special though, because I thought I'd never see another Ferengi episode again after 'DS9' and 'Voyager' ended. So it was a brilliant surprise to see them turn up two hundred years before the supposed first contact in 'The Next Generation's' first season. Add to this the references to a Ferengi past, such as the electro-whip, not seen since 'TNG', almost half the number of Rules of Acquisition (we know they make up new ones as time goes on), and beetle snuff, and it's a fun little nostalgia trip.

The actors under the thick makeup all do a good job, with three of them having been other characters in Trek previously: most famous would be Ethan Phillips who was Neelix, then a link to the original series with Clint Howard (who appeared in one of the earliest episodes as a child) and the ever-wonderful Jeffrey Combs, the king of multiple roles. Once again he pulls off a completely different take on an established race, with the rather Rom-like Krem, more friendly and eager to please than cold, hard profiteer. A stark contrast to Brunt, FCA. Phillips had also played a Ferengi before so it was like coming home for him, and excellent to see him back in a Trek series again.

Most of the characters don't get a look in, and it's mostly Trip and Archer trying to retake the ship, but it's just fun to see the aliens systematically strip Enterprise in their quest to uncover 'the vault'. The alien ship looked good, Porthos appeared, and though there's no real threat, the bumbling antics of the invaders is enjoyable enough. For those concerned that continuity is upset, Archer makes it clear they must stay away, and they did, realising the profit was low on hew-mons agenda, no doubt. And those hew-mons never found out the name of their species either, so this isolated encounter is perfectly acceptable in canon terms. If you worry about that sort of thing it's good news!

***

The Haunting of Deck 12

DVD, Voyager S6 (The Haunting of Deck 12)

There are some really nice touches in this one, such as a return of Tal Celes, the Bajoran from 'Good Shepherd', more for Majel Barrett's computer voice to do than ever before, and some ambitious new shots, including a turbolift shaft for perhaps the first time on the series, and shots from a replicator's viewpoint. The dramatic lighting with complete darkness, but for a red alert pulse is also impressive, and acts as a perfect frame for Janeway to do a Kirk and try and talk the lifeform out of killing her! But... There had to be a 'but'.

We know what's happening early on, we know what kind of lifeform is aboard, we aren't fooled by Neelix' exaggerations (although in a twist it turns out he wasn't making it up), and the Talaxian's kindly voice doesn't inject enough menace into the tale. You can see and admire the intentions to evoke a classic campfire horror story, but I'm not sure how successful it was. It's nowhere near other 'horror' episodes like 'Macrocosm', 'Darkling', 'Persistence of Vision' or DS9's 'Empok Nor', for making you jump or for raising an atmosphere. It feels very calm and 'safe' for a Voyager episode which undermines the danger level.

It's an admirable attempt to make a Neelix-centric episode, but he's changed so much into a cuddly, less eccentric character that most of his interesting rough edges have been smoothed, to the detriment of the character. Add to that I never liked the Borg kiddies (and where was Naomi?), and it is only the strong direction and rare chance to see the ship pitched into darkness, that saves it from being an average episode. There are so many episodes of the series that are much creepier than this, I'd recommend one of them.

***

El Dorado

DVD, El Dorado (1966) film

This isn't a typical cowboy film, as you might expect. Yes it's a John Wayne film, and Wayne plays his usual heavy-handed good guy loner, but there's a lot more humour than is traditional, and some nice character scenes. A lot is set up in the first half, introducing characters left, right and centre, but if you concentrate, it's fine. It just doesn't hand everything to the viewer on a plate as some modern films do. There are a lot of interesting and likeable people to get to know, like the green Mississippi, who gets a massive gun because he's a poor aim. With this he can point in the right direction and blast away!

The theme song, based on a poem, I believe, is really quite stirring, and the music generally is apt and swings the mood from playful to tense. There isn't a lot of action for this type of film, it generally has more build up and scenes where the tension rises, but there are a few shootouts, and some well-observed courses of action. Bull, the old Indian-hunter is one of the best characters, with his witty words and quirks. But all the main players are great, from the villains to the Miss', and the scenery is excellent. A moment that stands out is when Cole Thornton (Wayne) gets his horse ready to leave and his love stands in the doorway, as the sky has that dying light from a sun that is almost gone down. They must have waited for the light to be just right.

My favourite scene is when the Sheriff (Robert Mitchum) is trying to have a bath in an old-fashioned bathtub, but keeps getting interrupted. His turn as a crack shot turned drunkard, who pulls himself together with the help of his friends is quite touching, particularly the scene where he's laughed out of the bar when he goes for a bottle. It was only made in 1966, so it's not an ancient film, but I would certainly call it a classic. It's simply an enjoyable tale full of the kind of heroism you'd expect, but tempered with self-knowledge and wry observation. Highly recommended.

****

Progress

DVD, DS9 S1 (Progress)

It's like those history essays you did at school: List reasons for and against whether Mullibok should be removed from Jeraddo. There are many reasons for both sides, but regardless, the result is sad. There was talk of a less planet-stressing resolution, which would take a year to reap sufficient energy, but would leave the moon habitable, and I think they should've chosen this option, however, we don't know how badly people on the planet needed the power. It was said that they needed it for the coming winter (surely it's winter somewhere on the planet all the time?), so the process had to happen ASAP.

It's one thing that's quite surprising about the series: It hasn't focused on Bajor as much as you'd expect from seeing the first episode. We haven't seen the conditions of the people in the months after their long occupation. Perhaps we'd find it easier to see the Bajoran's side if we had experienced some of their hardship. On the other hand, Mullibok is a very real person, a kind of crotchety and crafty old relative, that always has a way of twisting things around, but has a certain loveable personality. Unfortunately he is also totally resistant to any compromise.

This is truly Kira's episode as she almost crosses the line between duty and mutiny, even stepping a few toes over, and dangling them there. No matter what, though she sees the parallels between the old Bajoran's sturggle and her own people and self, she has good people who care enough to help her back on track, though she did hang undecided for a while. Sisko, rather than throw the book at her and deride her course of action, covers up her indiscretion, and even visits her as a friend. That shot on the planet where he talks to her, he exudes command and strength, but then he slowly stoops and meets her at her level, and tells her what he sees in her. It's great direction and a lovely moment for the characters. We see how much has changed in the months they've worked together, and that Sisko has faith in her. She doesn't let him down.

Though you can see she isn't happy with the decision, she removes all Mullibok's obstacles, but not before helping him finish his kiln, and nursing him back to health after the ordeal with the security officers. The episode is very light on action, with only that altercation to cause excitement as Mullibok is enraged when they take his two compatriots by force. It shows what can happen when a potentially violent situation gets out of hand. The story is very solid, and there is so much subtext that it feels like an adult episode - thoughtful and issue-driven. But we also have a bit of comedy as Jake and Nog get into a 'Zelda'-like bartering sequence.

It's surprising they're featured as the B-story, since they served that function in the previous episode, but it's a welcome sight to see their shenanigans again. It's so nice to see them going about their lives as young people, especially when you know what they grow up into. Apparently Morn asked Dax out, which is another fun little aside, furthering the sense of community on the station. And I have to mention the brilliant set of Mullibok's planetside home. It could be outside, it's so well lit, and it reminded me of a Hobbit hole, with a brilliant slanted door and a very satisfying clonk when it shut!

In a way this sets up 'Duet' later in the season, where Kira is again battling against a foe with words, whom she comes to understand better. Both have sad endings, but it is surprising that of all the characters it should be Kira, the fiery, hotheaded woman from the pilot, who becomes so diplomatic and tries so hard to connect with others. She doesn't always succeed though. That would be too easy!

***

The Storyteller

DVD, DS9 S1 (The Storyteller)

Anyone who says DS9 was a sombre series hasn't watched enough episodes. It has some of the funniest episodes of all Trek, and this is another example. Whenever Jake and Nog get together there's bound to be trouble, but throw in a young woman to catch their attention and even more chaos is bound to ensue. One of the best jokes of the season is the prank Nog plays on his friends when they sneak into the security office. He goes off to nab Odo's bucket (the first time it's seen onscreen), and flings it at Jake, pouring grey gunk all over him - of course it seems like Odo, but is actually oatmeal. The joke gets funnier for us when the real Odo appears while they're collapsed in laughter.

The main story, featuring O'Brien and Bashir on Bajor has several parallels with the Jake and Nog story. Both involve Bajorans with two groups (Varis Sul, the girl, is involved in dispute with a rival faction, while on the planet Hovath is in the villager's bad books), both have a good bit of humour, with Bashir getting great enjoyment out of O'Brien's predicament. This is the first episode that has them together for more than a scene or two, and the first chance Bashir has to get to know the engineer. They may be chalk and cheese, but I think the Doc realises he doesn't have to put on an act with O'Brien. That they end up as the most solid friendship since Kirk and Spock (even though they seem closer to Spock and McCoy at this stage!), is what DS9 did best: Moving things on, but logically and satisfyingly.

Like this episode. It is Nog's Ferengi logic, and Varis' taking of a risk that solves the dispute. Even that shot at the end links the two storylines, as we see the young Bajoran girl leave for her meeting, and the camera pans round to see the two Starfleet officers returning from Bajor. It's taken a while for the series to get to an episode set on the planet, but it was a good one, with some dramatic shots, such as the old Sirah, standing aloft on the crag, his beard bristling and robe flapping out behind him like Moses, as the Dalrok appears. I liked the effects for that creature, it was different, and the attacks were very effective, sending Bajorans flying. Maybe you can say that the village looked a bit compact, and there weren't enough villagers, but we didn't see the whole place, and I felt there was a good number of extras, enough to make the scene real.

Three of the actors appear in other Trek productions: I think the Sirah was an alien in 'TNG', Faren played a temporal investigator in the 'DS9' Tribbles episode, and Hovath, the young Sirah went on to cause trouble for Captain Archer in 'Enterprise', almost a decade later. I like the way the series isn't afraid to get down and dirty. You see some TV and the characters never end up in water or throw anything around on the expensive sets, but here Quark has a drink thrown in his face and Jake and Nog get oatmeal all over themselves and Odo's office! It makes things more real. It might be just me, but Sisko seemed more reserved than usual, managing not to lose his temper, and seeming almost... tired. Perhaps the events of losing Kai Opaka have weighed more heavily than is obvious?

****

Monday, 17 August 2009

Covenant

DVD, Smallville S3 (Covenant)

Where to start? The hugely negative aspects, I think. Season Three was like an extension of the previous two seasons, that was almost not needed. It was a continuation of events that were set up in the first two seasons, with mostly an attempt to tidy up the events they'd painted themselves into the corner with at the end of Season Two. It was an insubstantial season, that had cracks running through the original premise of the series concept, the characters and story. With this episode those cracks break apart the structure of the series. Perhaps it was all necessary - a series needs to grow and change or it becomes stale. Perhaps Season Four will be a glorious revolution that will take it back to the edge of your seat action drama that was successfully achieved before.

But certain things have been hovering over characters since the series' beginning, the most obvious being Lex' locked room full of evidence about Clark. Well, thanks to Lionel's meddling, Clark gets to see this museum of Lex' findings, yet the intensity of the moment is not to be found. The episode itself is not terribly intense though it begins with a fine, strange opening, and that aspect, 'Kara', had a good twist to it. But that story was kind of a blind, a focus away from Lionel and his fate. The montage of events, supposedly set in motion by the old Luthor, is artistically done, and is effective in leaving us with confusion over the way things could turn. It's good to see Gabe Sullivan, if only for a few seconds. But does he die?

The characters have been scattered in strange and unforseen ways, perhaps to leave viewers wondering if they will all return. As it's now 2009 and this came out in 2004, however, I already know who will be back so some impact is lost, but it still begs the question of how they will patch the series and its regulars back together. To me this cliffhanger episode is more like 'Exodus' than 'Tempest'. It tries for some build up, but doesn't quite succeed, needing that montage to provide something more, because the story wasn't quite doing it. But Clark rejects Lex, Lex rejects Lionel, Jonathan gets caught up in Clark's attempt to reject Jor-El (or did he reject him? He may not have fought hard enough to stay out of his Father's grasp to protect Mr. Kent). There's no fairytale goodbye for Lana, except from Lex, and Chloe is too involved with the trial to appear.

And Pete. I really thought his angry, horrible departure in the previous episode, would have a calmer, more suitable send off in this one, so that things could be patched up between the friends. But so many are moving, and the broken ties are the hardest thing to accept about this episode. It has become much more of a phsychological drama series than action-based. Yet has not ticked all the boxes along the way. By now, so many recurring characters have been knocked off, so many teen friendships and enmities have spat back and forth, it seems a mixed up, confused series. But it still makes you want to know what happens next, so it hasn't failed completely. This episode was good, even if so many unsaid things are said, as in other episodes this season, losing the subtlety and some of the mystery. Can Season Four save 'Smallville' from being simply another supernatural teen soap?

***

Rogue Planet

DVD, Enterprise S1 (Rogue Planet)

Another one that doesn't quite hit the mark, and doesn't play to its strengths. It is different in that it's probably the visually darkest episode ever, with cool little neon glows about the only light sources as the hunters go about their dastardly business. And there's the macho side to it, but I didn't feel that was quite strong enough, despite the good performances from the Eska characters. You wanted even more of a raucous hunting party, with more damage, and more ferocity. And the hunting of sentient species is something that's been done before, most memorably in DS9's 'Captive Pursuit' with more emphasis on the moral side of it. Here, it's mostly people charging around in the jungle, but without the requisite action needed to sustain an episode with that focus.

That the mystery woman isn't really human isn't exactly a revelation although it is fun to have some shapeshifters. Too bad they didn't turn out to be a colony of Odo's people. There was at least one nice little reference - Jupiter Station is mentioned. Very apt since I'd just watched Voyager's 'Lifeline' which takes place on that facility! There are some nice campfire scenes, though not as well played as in 'Strange New World', and though there are the differences mentioned, that's all that makes the episode stand out from the crowd.

Admittedly, this was another of the few episodes I never caught on original run, but I was thinking the production values were very nice, especially the shots of the NX-01 all lit up in the dark, but there wasn't enough meat to the story, because characters weren't getting developed. And that's always an important factor. Give us atmosphere, give us action, but never forget to advance the characters.

**

Lifeline

DVD, Voyager S6 (Lifeline)

Lewis Zimmerman is one of the best characters ever created on Voyager. Yes, there are shades of Data and his creator, to the idea, except that Dr. Soong was a benevolent, kindly old man, the exact opposite of the rude, arrogant and shabby creator of the EMH. The most significant similarity is that both are played by the same actor as their creations. Picardo does an absolutely brilliant job portraying the older, slouchier version of the Doctor. There are so many scenes with both characters, yet most are so incredibly well put together. Occasionally, yes, eyelines aren't perfect, but no sooner are they having conversations, than they're making physical contact, something even more complicated!

I wish Zimmerman had been in more episodes, but his storyline is done. He was previously seen in a Season Three episode (wearing the same battered lab coat), although that was only a holographic recreation. His first real appearance was, ironically, in DS9 about three years prior to this episode, where he was again superb. Actors are supposed to act, granted, but to pull off such different characters in one episode and have them interact so much is a masterstroke only rivalled by Brent Spiner's turn as three characters in a TNG episode!

For people that enjoy the overall spectrum of the interconnected Trek universe this is also a gem. We get to see Jupiter Station which has been referred to several times on various series', we get Barclay and Troi, and talk of the Enterprise and Captain Picard. It's nice to think that these ships are all going about their business even though we aren't necessarily privy to what they do. It enhances the universe, especially as this is set after DS9 ended, so it's really great that there are further details of Alpha Quadrant life. Technology has improved too, and we get to see this in the holocreations or the transparent PADD Zimmerman uses. It's also good that the story of the EMH continues, as last we heard Bashir was to be the replacement template (another great episode in its own right!), and you pity Zimmerman to see his life's work reduced in his eyes and his associates.

To see him alone, but for a neurotic Starfleet officer and a bunch of holograms as the only ones to call friends, after he's upset most people he's come into contact with, coming to the end of his life, really is so sad. Yet his sharp putdowns are a great part of his appeal to watch. The few scenes back on the ship are also more special than usual. It's kind of annoying that they once again raise the Janeway/Chakotay thing, when she invites him to dinner, although it could be that they're simply friends. But it really is the Doc's episode, with a showcase for him. I don't think Zimmerman came back again, but in his short moments he made a huge impression, something Voyager needed more of in its secondary characters.

*****

Star Trek: The Motion Picture (Director's Edition)

DVD, Star Trek: The Motion Picture (Director's Edition) (1979/2000) film

I love the piece of music the film opens with, it emphasises that this is a special film, and takes the time to get you in the mood, something that would never be done now. This is the continuation of the series, taking advantage of an inflated budget to do things the TV episodes could never do, but in doing so it loses some of the appeal and gets bogged down a bit in the groundbreaking effects work.

I was surprised by how many similarities there were between this and 'Star Trek XI'. Both films succeed and fail in different ways, both films aren't quite right, and there are so many links between them. 'Star Trek II' is the most cited film that the new film linked to, but this has just as many. The obvious being the uniform that Pike wears at the end, being very similar to Kirk's Admiral uniform. Sulu uses an automatic gear lever to put the ship into warp. The Klingon ships appear fleetingly. The characters are all there, but not wholly themselves. The tone is quite different to the series, in that this film is very serious and bland in colour scheme, yet has a deeper something to it, that by the end brings its roots into vision. XI begins very similar to the series, though with huge emphasis on action, and by the end you realise there is less depth, and it's taken further from its roots. If I had to choose one to exist it would be this one, because as good as XI is as an action film, it changes the future, whereas ST:TMP continues that future.

The first thing you think is what great music, even though the original theme is not present (although a subdued strain of it filters through occasionally when the Enterprise flies through V'GER), and the welcome appearance of all the names - everyone is involved! There are even added bonuses such as the fleeting appearances of Janice Rand, a brilliant touch, even if her story is not expanded upon, or her being there explained. So much that later influenced 'Star Trek: The Next Generation' is in evidence here. The Klingons make their first introduction to the ridged heads look, that would continue to the present day. The warp core is seen as a stunning pillar of light. The corridors, design and scale are all things the spinoff series would adopt, right down to the wall panelling of corridors, even the sensibilities such as a rec room and an executive officer that is free to voice his concerns over protocol.

Will Decker is another nice surprise, being the son of Matt Decker, who died in the series. His and Ilia's performances stand out despite being the guests in a familiar cast. We only know them for a short while, but they make an impression and prove to be sympathetic characters. The uniforms don't help with the feeling of blandness the film has, and it's strange they chose to make lighter, pastel shaded attire with no contrast. Thank goodness that changed in the following film! The design of the Enterprise (another parallel with STXI, as that ship had a new look that was smoother and more elaborate than the TV model) is sterile and paradoxically both more cramped and more expansive than its TV counterpart. It is the same ship, but refitted, rekitted, with the colour sucked out and stored in a box somewhere.

Chekov has progressed to security, Chapel to Doctor, but the others are all there, even if they need rounding up. The shock of the film is in Spock's reaction or non-reaction to his crewmates when he finds his goals aligned with the Enterprise, and joins them from Vulcan, though he has left Starfleet. McCoy (again, like STXI) is the closest to his TV character, still saying the best lines, getting irascible, but speaking the truth. But by the end, it's as if the script, the actors and the characters have found themselves again, and as Kirk tells the new navigator to plot a course "...Somewhere... thataway," we feel that the pieces are back in place and all is as it should be (a kind of feeling you get at the end of STXI, although actually the rest of the universe is in little pieces, and not in place, but they still sail off for a shakedown).

The effects, especially of this Director's Edition are worthy of attention, but you do notice the slow pace even with this tweaked, tidied up and enhanced version. It is very good that Robert Wise and his team were able to put together a film that was closer to his original vision that could not be done, for time primarily. While the film is still one of the weakest in the series in terms of being 'Trekkish' (along with 'Star Trek: Nemesis' and 'Star Trek XI'), most of the films are of a high quality so that's not to degrade the film. It is still a good film, though obviously an aquired taste, and one to be watched in context and enjoyed for it's position as being the only live-action Trek of the seventies (which shows itself as the sixties' style did in the series, with hairstyles and clothing, and direction that definitely evokes that era!).

It brought the crew together again in a logical and impressive way, without leaving out anyone important, and provided a unique experience, vast and daunting, with effects that were pioneering and a redesign that would show the way forward for everything after. It also made a pot of money, and ensured the creative success of sequels. It was a lesson in what not to do, yet remains a special film. And the problems are lessened when you know what's coming after...

***

Battle Lines

DVD, DS9 S1 (Battle Lines)

Perhaps the most violent episode to this point, and if it were merely concentrated on some Starfleet officers trying to survive on a battle-ravaged planet of hate, it wouldn't have been as interesting. The extra dimension of Kai Opaka, and Kira's story, makes the episode something a bit more. From the pilot episode you would probably have guessed at least one storyline that would be continued would be Opaka's. She played a simple, but integral part in beginning Sisko's journey, with her grounded wisdom and wholehearted faith. She had so much presence with so little stature and so few words. She seemed like someone you could trust fully and relate to, and she fulfils much the same function in this episode.

This time Kira is the one confronted with herself, a past of violence which has shaped her. The Kai helps her to admit who she is, and understand her peace and that of her world is of high importance. Yet the Kai serves the Prophets will to help the people of the abandoned moon upon which the Runabout crashes, above her own ideas and desires. She wants her people to be healed, but though she may not understand, she realises through prophecy that she will not be the one to do it. The growing storyline of Bajor, which has pretty much lain dormant since the pilot episode, is set to return to prominence. Without their great religious leader what will become of the people? Only political and religious maneouvring will tell us...

Opaka wasn't really serving the Prophets, of course. She was serving the needs of the writers and the series itself, because having a stable person on Bajor; an ally of such import and influence, on the side of Sisko, would not have given as much opportunity for strife and upset. Conflict is the word, and conflict is something that would sum up the series. So although her departure is sad, especially for Kira, it was necessary, logical, and, let's face it, provided a good story to boot!

There are technical constraints that prevent this episode being the classic it could have been. No matter how good it is, I did feel there were things missing. Things that would have made it a little more impressive visually. The shuttle crash takes place mostly in the character's reactions, with some nice clouds and land rushing towards them from a viewport, but an exterior shot would have improved it. Likewise, the satellites guarding the moon would have been something worth seeing, as would their destruction of the probe, or even O'Brien sending out all those probes in different directions. Also, the cave set, while used to the full, isn't a substitute for a larger landscape that a quarry might have given.

The crash is noteworthy for being the first Runabout to bite the dust. Certainly not the last! And it's nice to see O'Brien and Dax teamed up, I think for the first time. It's always good, and helps set an episode apart, if a new combination of characters is used. The standout performance is Kira's, crying into the Kai's robes, her bitter hardness broken down with gentle words, and as the Kai says, the beginning of her journey. The Ennis and Nol-Ennis always seem to me a bit lacklustre, and undeveloped. But I suppose that's the point. When Shel-La rants about the possible 'cure' Bashir had suggested, his twisted nature rises, ugly and revealing, to the surface. Their hate is so great that they would use the cure as a weapon itself, and neither side will ever relinquish anything to the other, though they don't even remember what they're fighting for. But one person cares enough to remain with them. Opaka's calm acceptance of her situation, should give the crazed fighters the hope they need. We never found out what happened on this planet I believe, but if anyone could help them it would be her.

Amazingly Quark isn't in this at all, and Odo only fleetingly (but he gets a really nice camera shot seen from inside the Turbolift as Dax talks to him as it descends). Sisko shows what a dangerous fighter he is, really putting all his considerable physical strength into the fight, the first hand to hand mass brawl seen on the series. Not the last, though usually Klingons are involved. So, an action-oriented episode for a change; brutal, nasty and (since it moves so quick), short. But one that is surprisingly emotional. And at least the promise is given: one day Opaka's and Sisko's pagh (soul), or even path, will cross again...

***

Turnabout Intruder

DVD, Star Trek S3 (Turnabout Intruder)

It's hard to believe it, but we've reached the seventy-ninth and final episode of the original series. And it's nice to see it go out on a relative high. I don't think I'd ever seen this episode before, although I knew the basic premise of two people swapping bodies. The central idea works so well, and the joy of the episode is in becoming mesmerised as you watch Kirk in a female body, and his nemesis Dr. Janice Lester in a male one, and see the subtle nuances that show they are not the same character, even if they look the same. Shatner moves differerently, keeping himself erect, having hissy fits and saying things he never would in a way he never has. And in the opposing corner, the female guest star does such a great job of using the familiar mannerisms of the Captain, so different from the moments she is playing the female character.

As a final episode, though they wouldn't have known for definite, I suppose, when it was written, it has more emphasis on characters, and it's good to see that the the story was by Gene Roddenberry (even if he didn't write it). It mostly takes place on the Enterprise, so we see many of the familiar sets for one last time. Nurse Chapel is there again, with a snazzy new auburn look. The only major disappointment is that Uhura is not, replaced inexplicably by Specialist Angela Martine-Teller who had appeared in a couple of Season One episodes. Why this is the case is not apparent, but at least it wasn't the last time the crew of the good ship Enterprise got together.

Sadly, Mr. Leslie doesn't appear either, although Mr. Hadley does: in a gaff! On the bridge we see the stock shot of Sulu and Hadley looking at the viewscreen, with Kirk's chair in shot. But this can't be the usual stock shot because Kirk gets out of his chair and moves forward. In the previous shot Chekov is sat at his station, then the 'stock' shot replaces him with Hadley, yet Kirk completes his movement from the previous shot. And, yes, Chekov is back again a second later. Must be another case of SJITBS (Starfleet Jack-In-The-Box Syndrome)!

There are scenes with all the main characters, be it Scotty and McCoy, Sulu and Chekov, or Spock, McCoy and 'Kirk', that remind us why we like this family so much. The strength of the episode is the simmering tensions as we wonder if the real Kirk will escape or be able to convince Spock and the others of his identity, and the fake Kirk's worries over whether 'he' will be discovered or will be able to continue to pull the wool over the crew's eyes. As Spock began to believe what 'Lester' told him I was hoping he would do a mindmeld as that was the logical way to ascertain the truth, and I was so pleased it happened, and with the Vulcan theme music too!

At first, in the cavern facility (and a great set that was, with the alien device looking ancient, yet believable), I didn't realise Dr. Coleman was in cahoots with Lester, and thought he might expose her or become suspicious, but by the end, you realise he actually loves this mad woman. I also thought Lester might accidentally be killed by the hypo, when their conciousness swapped back to normal as Coleman was about to kill Kirk in Lester's body, but he realised what had happened. I must say everyone treats him very calmly, for someone who had just been about to murder the Captain!

Did Season Three live up to its bad reputation? I think half and half. The latter episodes were generally poor, but the early half was as good as any before it, even the supposed worst episode ever, 'Spock's Brain' I found to be enjoyable! ("Brain and brain. What is brain?"). Effects were noticeably improving, new set ideas were tried out - maybe there wasn't enough location shooting, but in general, despite the lower budget, some great episodes came out of the season. It's a shame the series didn't continue, but then again, perhaps it would have had its lifespan in the seventies, and exhausted all its potential before the gradual and momentum-gathering success of the later films and TV series' came into being. Perhaps it would be a mere curio, a success story of the sixties and seventies, instead of the huge behemoth of entertainment that was spawned from it. Sometimes cancellation - death - can bring about the status of legend. And a rebirth into new life.

***

Forsaken

DVD, Smallville S3 (Forsaken)

Never has the end credits music from Season Three been more fitting. Devastation. The terrible price of Clark's secret, his destiny, his powers, all wrapped up in that one word. Even though I knew it was coming, Pete's decision to abandon Smallville as the only possible solution to having a normal life, was so sad. But it was probably the right decision. That it came at the time Clark could have stopped Lana from leaving, the time he had made his mind up to reveal all as he should have done so long ago, was a heavy blow. It showed the futility of sharing such a dangerous knowledge. He realises that far from making his friendship with Pete better, as he wrongly says, it has effectively assisted in ruining that life. And the one life he cares most about, Lana's, he would never harm.

It proves he was right not to tell anyone, the choice made by his parents. And while they realise he is becoming an adult and begin to give him the space to make his own ways, they also know and hope he'll make the right choice. "We always have a choice, son" is what Jonathan so often said in the past. Clark, heartbroken as he is by events, makes the right one. I thought he would tell Lana not to leave because he secretly still loved her, but no, he confused her once again, but also once again, kept her safe from harm's way. Well, it's Smallville, so safe from harm's way is not living in this town, and as we see, Clark is far from the only source of danger!

Pete, as much as we like him, has the right idea. In the real world I can understand the actor leaving as he was horribly underused. Just as in the storyline, Clark's secret meant he had a difficult time. He was too handy a person to rely on, so they pretty much took him out of the equation early on. You could almost argue his last great episode, focused on him, was the one where he learns Clark's secret. It's not entirely the writers fault - it is the natural way of a TV series that it grows and changes organically to suit the viewers, the channel, the timeslot, the expectations, and needs to change to survive. There is usually at least one character that is done badly by the changes, left out, forgotten or misused. Some actors hold on, for those one or two episodes a year they can call their own, but I'm sure it can be very frustrating, especially for a young actor.

Pete was great, the scene early in this episode was an example. If only they'd used him... but I can't go into all the problems of the series again, after such a good episode. They got to the heart of some of the characters, they brought back a good storyline from last season in the Dinsmores, and they sorted Lionel out. They even managed to throw in a brilliant effect when Clark chases Emily and stops her by pulling a water tower onto her! The one thing missing was the contemporary music, so often successfully used to underline the emotions or actions. But there were a lot of very nice scenes, whether it was Jonathan and Clark sitting down together, Martha and Clark, Pete and Clark, especially the tearful, almost shamefaced farewell. Even Lex and Lionel, Chloe and Lex, Lana and Lex, Pete and Lex... the characters were brought together, the Talon really began its demise. The Lionel story comes to a head, though Lex isn't happy. And what about poor Mr. Dinsmore.

It was a real shame the little girl who played Emily wasn't returned to the role, but working hours and the grisliness of the story meant an older Emily was more suited. I had hoped the Emily project would come back so I was at least glad it did, with such a creepy idea as having a 'friend' caged like a pet. And she escaped, so perhaps this isn't the last of her? I can't say the episode makes me feel good, or happy with the way things have played out. But I can at least understand that it's too much to expect happy stuff in the series now. I watch more to see the unfolding drama, than to be too impressed with how it works. It's a different series, but it will be different again next season. With only one episode to go, what more will be done?

That end music is portentous, relentless, less than comforting. But it also tells of a destiny to come, one that Clark approaches, ahead of all other concerns of friends and family. He will be alone, we know that. He begins to feel that even more.

***

Monday, 10 August 2009

Vortex

DVD, DS9 S1 (Vortex)

It's taken a surprising number of episodes to get to the first jaunt into the Gamma Quadrant. We had a short visit in the first episode, but this is the one where we have a proper journey into alien space, and meet a race from the other side at their planet. It's also the first time we've met these particular aliens - the Miradorn, and Croden's people. The Miradorn were a good idea, but you can't see them working on an ongoing basis. Some of the technical prowess of the episode isn't even obvious, because the Miradorn twins are played by one man, with split screen used to integrate his two performances very effectively indeed.

There was also visual trickery to look out for such as the moment Rom puts four glasses on a tray, reaches behind the bar for a bottle, then when he picks up the tray five glasses are on it. The glass smash in the holosuite was also a nice effect, as Odo reveals himself, the shards dribble together. Visuals are one of the main plus points of this episode, with some really beautiful shots of the vortex of the title, all mauve and pink. The sequence with the Runabout and the Miradorn ship in the smoky atmosphere was one of the best visuals in the series so far, with great menace and tension as the larger ship approaches through the gloom. And Croden's key is still a great effect even now! All this and a Vulcan too...

The only moment which didn't make perfect sense was that Odo sets a course back to DS9, without first reporting the 'loss' of Croden to the Rakari authorities. But then he wouldn't have had the whimsical last words as he wonders where his home really is, so it's excused. That's the biggest element to this episode. The first mention of shapeshifters in the Gamma Quadrant! Odo has previously not known anything about his people or origins, and he still doesn't, but the legends of Croden's people could turn out to be true. They could have been persecuted, they could live in non-humanoid shape, they could be ruthless. These are only legends though. But what legends! Even if we know nothing for certain we're still getting a sense of Odo's character, which is delightful.

Quark gets to throw out more speeches and act his way around the bar, and it's good to see Rom part of things again. I think it was wise to spread out these important episodes of Gamma Quadrant contact. It builds anticipation and the character's are more fully formed. The season is progressing nicely.

***

All Our Yesterdays

DVD, Star Trek S3 (All Our Yesterdays)

The only disappointment with this one is that the other characters, apart from the big three, aren't in it (apart from Scotty's voice). The rest is rather good, with surprises and some especially varied and well made sets. We get variety in location, with snowy mountains, hot underground caverns, a cobbled street from a parallel history and the library with its time machine, the Atavachron! These are all presented very well, with special effects that all look good - from little things such as Kirk being shot by the small tube-like weapon, to the eye-catching effect as they step through the doorway, with a change in look and tempo. I admit, when Kirk heard the scream and ran through I thought it was happening outside, so it was quite a surprise when he ends up in some ancient musketeer land.

Mr. Atoz (or, since he's in charge of the library, Mr. A to Z!), and his duplicates are a fun addition. He doesn't seem to understand that Kirk and crew aren't from this planet, and busily goes about getting them into the past. Another excellent idea, having every historical period represented and available as a refuge from the coming annihilation. But where did they get such technology when they aren't advanced enough to build starships? Perhaps the Atavachron was a natural development from some unique source on their planet, which led to these discoveries, and all their resources were used in developing this technology. My favourite Atoz moment is when he gets the stunned Kirk on a sled and pushes it into the portal, the Captain rolling off just in time. It was somehow funny, despite the implications.

Spock's degeneration into the uncontrolled ancestors of the time he had returned to began so slowly and subtly it's hard to know when it began! I definitely noticed it before McCoy pointed it out, but it was so slight I thought it was strange, rather than understanding he was becoming affected by the time period, and passing through the Atavachron unprepared. It was surprising to see him eat meat, and lose control a bit. Just as surprising was Zarabeth, who promptly takes off the majority of her clothes when inside the cave. It's later explained the cave is near a hot spring, but to begin with it seemed a bit odd. She was remarkably sane, despite her situation, though I wonder how she would be after they left.

I'm sure there have been other Trek episodes when a character is alone except for one other, who keeps them there until they realise they can escape. Zarabeth wasn't quite like that, she just didn't think too hard about how they might return. McCoy gets a good ranting at the end, and it feels right that they didn't end with a laugh.

***

The Nox

DVD, Stargate SG-1 S1 (The Nox)

This story is very similar to the original 'Star Trek' episode 'Errand of Mercy' in which Kirk finds himself among seemingly weak and undefensive aliens, trying to convince them to go against the invading Klingons. And the beings turn out to be not so weak after all. Lack of originality isn't the episode's real problem though. It's good that they're re-evaluating the Stargate mission, and there's a move to a specific objective to retrieve a known technology, instead of stumbling onto a planet with general goals of exploration or contact. Having a purpose gives the story a bit more importance.

Unfortunately the lush look of leafy green forest land and colourful aliens, don't disguise the budget cutting. Apophis goes for a jaunt in the woods on the exact day that SG-1 turn up. That's a bit of a leap in itself, but he only brings about three guards with him! The grand enemy is left looking a little out of place in his gold threads, walking in the mud. It just doesn't seem plausible from what we've seen of him that he'd be personally involved in a down and dirty mission to capture some beast, and he loses some of his power and stature away from all the finery and pomp. This makes him seem a less powerful adversary and in turn makes the heroes less heroic.

It's surprising to see Armin Shimerman (who played Quark on 'DS9'), but pleasant, and he makes a good job of a pretty airy-fairy character. It is a good step to have the story from the pilot episode continue in some form, although it's taken quite a while to get there, and it doesn't really add anything to the ongoing plot except to remind us who the villain is. So far episodes have been hit and miss, but you can't deny you like the characters, and that's the main reason for watching. I love some of the lines like Teal'c's noble declaration that their way is for the strong to protect the weak, or the comedic way Jack and Daniel try to explain things to the Nox. Also, the effects aren't bad, it's just the story doesn't really go anywhere. Perhaps a coda back at base with the VIP who was in the teaser, to provide a conclusion, would have worked?

**

Monday, 3 August 2009

Talisman

DVD, Smallville S3 (Talisman)

The various endings pretty much make up for all the bad feeling in this story, and Lex' final words, that Sagith could be the hero of the legend, who could stop Numon from controlling Earth... well, it puts his mission up there on screen and shows us the direction he will likely take. We've always known Lex is the evil enemy who will become Clark's opponent, (despite the clever use of the dagger to suggest Lionel or Lex could be the prophesied villain). Now we see that trait often adhered to by tyrants: they think they are performing a greater good. Lex had taken almost a step back from evil, by seeing what his Father has done, and became determined not to become like him. Yet now he has a crack in his armour, that fits with his established personality. So many times he has managed to deny committing to bad ways, but if he no longer thinks these ways are wrong, then his descent is forged inevitably.

It was funny to see John Schneider directed this one! He probably gets the best vote possible for a director, in that he didn't try too hard to make his mark, but like the best of their craft, allowed the story to tell itself naturally. The angles and decisions worked for the series, and weren't radical. Now we know why he wasn't in the previous episode - he must have been prepping for this! It was also good to see Teryl Rothery ('Stargate's Dr. Frasier), in a small role as the property agent. Perhaps this means a recurring role for a few episodes? And we have another baddie in a coma, in back to back episodes. Can this mean a big awakening in the near future?

Jeremiah wasn't a great freak-of-the-week, but he wasn't given enough limelight to explore his character. The episode wasn't about him, and when the freaks-o-t-w aren't the focus they don't usually work as second fiddle. They almost never capture the danger and horror of Clark's brush with these people now, and often become merely an excuse for a couple of action scenes, amid what are mostly talky episodes. You can't beat someone being smacked with an entire tree trunk though, can you! The story should have been a high point. Clark goes up against an equal, but there is none of the complexity or relentlessness, or even tension, that you'd expect. The story instead bounces patchily between various characters, continuing their arcs a little, but not in that much of a meaningful way.

Lionel is excellent as ever, but if he can creep in the Kent's barn, you'd think he'd have got more concrete evidence on Clark by now! At least all the characters were in it, even if you get a sad foreboding of the breaking of the fellowship. Chloe was very much her old self, though Pete continues to be grumpy (he had good reason). If the school had been as much a part of the season as previously, scenes there would have more resonance, but the series continues it's disjointedness. As nice as it was to see Willowbrook again, he's not one of the characters I'd most have liked to be brought back! But as I said, the endings pretty much leave the story in a better place than the episode presented.

**

The Nagus

DVD, DS9 S1 (The Nagus)

From the mysterious appearance of a be-hooded figure grasping a Ferengi gold-headed stick, you can guess this is going to be special. There are too many little moments that are worth recalling to go through them all, but some highlights are: Odo raining on Quark's parade - he's always there to put a damper on Quark's good mood and this time the newly Nagus-ed Ferengi is laughing at brother Rom's unfounded hope to run the bar now Quark is busy with more important things. Odo arrives in time to make the sarcastic observation that he's not 'overcome' with grief, it seems, since they are at the Funeral auction for Zek.

The dripfeed of Ferengi culture is another source of great interest and fun. That they sell the remains of their dead, eat unpleasant gribblies for lunch, and admire treacherous behaviour sets them apart as one of those very alien species, more so than most. That's what the episode's about. It illustrates the vast differences in their culture in the A-story, while in the B-story they show Jake and Nog learning to find a way round such things. It's that ability to carry a comedy story, with cultural discoveries, yet also play a more serious character plot, that synchronises with the other storyline and feels just right, that would make the series so much stronger in the long run. This episode is a mere taste of the goodness to come, but it is also a very good episode in it's own right.

I love the occasional references dropped in, such as the Andorians, or Nog's excuse for not having his assignment: he says Vulcans stole his homework! And at the end Zek compares trying to get through to his son Krax, with talking to a Klingon! One thing confused me a little. We see the school, with O'Brien as substitute teacher, Keiko not having returned from Earth, but I'm sure previously it was said that the whole family had gone there. Maybe O'Brien's leave was finished so he had to return early.

Jake and Nog's friendship goes to a new level. In the first few episodes they meet and kind of make friends out of convenience since they're the only children of a similar age on the station. But with their Fathers seemingly against the friendship, and a frank realisation they'd be bored otherwise, the friendship blossoms with Jake teaching the Ferengi to read. Sisko gives his blessing near the end when he calls his son over on the Promenade and embarrasses him a bit by showing affection in public. But he then sends Jake back to be with his friend. Brilliant.

The other characters are more in the background, as they were heavily part of the preceding episode. Dax still has a nice scene in the Sisko quarters, and shows a healthy appetite for Sisko's food, one of the early examples of the Commander's soon to be famous cooking I presume, since she tucks in once Benjamin's out the door. It shows their friendship that she can come and give advice and feel free to come and go in his quarters, which is nice. The music, too, is a touch of what was to come, with more comic or mysterious tones.

The series has pulled itself together, from it's dual personality of being a new entity, yet also a spin-off of a successful series. Many episodes of the first half of the season were trying hard to introduce characters (and did so well), and finding a unique style, but came off very much as 'TNG' stories. Now we're over the halfway mark, we're seeing the self-integration of the series, and it's working.

****

The Savage Curtain

DVD, Star Trek S3 (The Savage Curtain)

This was something of a disappointment for me. I knew it featured the rock-like Excalbians, the last iconic alien build of the original series. I knew it had the introduction of important cultural figures in Surak of the Vulcans and Kahless of the Klingons (and to a lesser extent Colonel Green of Earth). And I knew Abraham Lincoln was in the mix too. Maybe I expected too much, maybe the first half of this season spoiled me into complacency so that I scoffed at the view that Season Three wasn't very good. But the second half of the season supported that view, and this episode was another in a long line of episodes which could have been great, but were in execution, a bit pointless.

The first part of the story took so long to go anywhere, with a fake Lincoln that we know is fake, that Kirk knows is fake, and which the crew knows is fake. Yet the charade of showing the great man round goes on far too long, even if (like other parts of the episode), there were times when it justified itself, such as the exchange with Uhura, a chance to illustrate how life has changed in the future. And actually, these ship-bound scenes do at least give the ensemble crew chance to have some lines. Even that was a little strange though. I'm sure Kirk calls a redshirt Mr. Leslie early on, but it wasn't him! And we get a whole new character (Dickerson) in charge of the security escort. It would have been better to have someone like Kyle be promoted and shown.

The transporter room scene was a nice one, with music ('Taped?' asks Lincoln, bemused at such things), and a bit of naval tradition with the whistle and phaser greeting. Another moment in the episode where we got some sense of protocol and internal consistency (aside from the great dress uniforms getting another outing), was when Kirk and Spock have been beamed down, and Scotty's still in the transporter room. On the bridge the Captain's chair is filled by command number four, Sulu, which has been established in previous episodes. And yet I was still thinking 'but why isn't Scotty in charge since he's on board?' - just the usual little niggles that people like me notice. But then Scotty arrives on the bridge and you see Sulu was in command while Scotty was dealing with the transport, and now he's come to the bridge Sulu relinquishes the chair and command. Excellent!

Something else that deserves high praise is the Excalbian costume, and the effects. It seems to melt out of the rock and uncurl itself, even the voice has rock noises in it. And you get a steady steam erupting from it's magma-like body. Very nice! Even, to begin with, the new characters pique the interest. But while the guile and cleverness is played af first, the episode soon degenerates into a rather poor scrap, with such dignified and regal personas, as have been just introduced, reduced to hand to hand fighting. They cut away as the Enterprise crew watches on the viewscreen, but you can't get away from the inconsistency of the fight.

It's not a good one, and they can do a well-choreographed action scene, we know. Spock has trouble wrestling a wild woman called Zora (and 'Legend of Zelda' players will be wondering where the Deku Scrub is since we also have the Goron-like Excalbian! Mind you, old Genghis looks a bit like a Scrub with all his furs on...), Lincoln gives as good as he gets, yet Surak can still be thrown around. Not to mention the fact he later refuses to fight on principle. There's no consistency to the varying strengths that should be portrayed by the different races, even if they are created by the Excalbians, they read as human, Vulcan, etc, so they should behave like them physically.

You can tell they put a lot of effort into the planet set, with saplings, and tiered rock faces, but no matter how good, it can't disguise the artifice. When you look back at an episode like 'Arena' or 'Friday's Child', both similar in tone, with adversaries to be fought or escaped from, you see how much better they were at making the action more exciting. Making it more dangerous. Instead we get characters talking slowly through the situation, without any urgency or fear or anything to make us care. So when we see the characters doing things, naturally any tension or empathy is lost. I guessed Surak wasn't really the one crying out, but it was quite sad to see him slumped against the tree, and that led to one of the only great moments - when Lincoln hears a mockery of Surak's voice, turning to see Kahless performing it.

Kirk's rugby tackle was good, but again, no matter how hefty Khan was (Genghis, that is!) Spock should still have been able to lift him off or use his nerve pinch. And the baddies just run away, thus somehow ending the scenario, but only because the episode's time was up. I speculated that it could have been a two-parter since the first bit with Lincoln on the Enterprise could have sustained an episode, and if the good versus evil thing on the planet had been expanded into trials and tests beyond mere brawn, it might have been improved. The ending is also somewhat abrupt, with Kirk ordering them to move onto the next assignment as if nothing had happened. I suppose it was all in a day's work for him.

**

Requiem For Methuselah

DVD, Star Trek S3 (Requiem For Methuselah)

Not one of the best episodes, not one of the worst episodes, this falls somewhere in the middle ground, yet with those unexplainable somethings that make it, still, an enjoyable watch. It is one of those that is laid back, relaxed, not pummeling your mind, but oozing something indefinable. The lavish home of Flint, the secret laboratory, the android who thinks she's human... these are all things that have been done before. But they do make an interesting little mystery, with a tragic (if easily guessed) conclusion. Importantly, the triumvirate of Kirk, Spock and McCoy are together (to the detriment of the rest of the crew, it's true), with the Doctor having a meaningful role after being almost forgotten in the last few episodes.

M4 has the look of Nomad about it, and could be the same technology as M5 - Flint clearly has expertise in all areas. That is a great idea, that he is one of many famous historical figures, although his newfound ability to self-heal and live forever came from an unlikely arrow through the heart. How or why he could have these powers among all those normal humans is never elaborated on. You could speculate he had alien blood somewhere in his ancestry, except Spock confirms he's wholly human. Also it would have been good to hear at what point he abandoned Earth for his sojourn to the stars, and how he came to be on the planet. Kirk mentions it was bought something like thirty years ago, so this could be him, but it's another question left unanswered.

Also, was Rayna (or Reena as the credits have it) a true android, or was she organically created, because usually these creatures show their inner workings or a hatch opens to reveal inhumanness. And I'm guessing the versions with numbers are the different versions, not Rayna's age! The Rigelians are mentioned (this is the plague the Enterprise crew are suffering from), which is apt since the Rigelian castle from Pike's flashback in 'The Cage' is reused as Flint's place! Other oddities is the Enterprise getting shrunk (happened in 'Catspaw'), and if you pay attention, the scene where Kirk looks in on the bridge (although he shouldn't be able to see anything as it's not a two-way window, unlike 'Star Trek XI'!), one shot has Hadley mid-stride approaching Chekov's station from the right, then a cut to the viewscreen has him sitting in Sulu's seat, and on the bridge view can be seen some other blue uniformed crewmember sitting there.

This is one of the few not to have Sulu or Chekov, but in fairness they were both featured last episode. The most surprising moment was Spock's "forget" moment with Kirk as this is the very opposite of the moment in 'Star Trek II', and I never knew it had a precedent in an episode!

***

Memoria

DVD, Smallville S3 (Memoria)

The thought 'an episode from an abandoned TV series' came to me watching this. I'm not sure what that means, but as a whole the episode seemed kind of distant, inactive, but I don't mean it wasn't engaging. Perhaps it was the flashbacks, or maybe because only half the cast were in it, but it did seem strangely detached from the series, despite being full of exposition, revelations and retconning. For that reason the story never feels as if it really got going, as it mixes in a more traditional type of story (the Summerholt goings-on), with some deep psychological stuff, and some strong visual images.

The young Lex was well judged, it only took a moment in the teaser for me to realise this was the past, thanks to Lionel's hairstyle, after the thought of Lex' half-brother flashed through my brain. We get to see both Lex' mother, Lilian, as well as hear Clark's parents and get a sense of that first scene from the first 'Superman' film, where Kal-el is placed in the ship. The tank of liquid Kryptonite was very reminiscent of the scene in the first 'Hulk' film where he turns into the jolly green giant and smashes out, and I was half-expecting that to happen!

I knew Dr. Garner's days were numbered as soon as he got mixed up with Lex trying to recover the lost memories, because if he does recover them Clark's secret would be out, and Lionel's secret too, and it felt too early for these momentous events to occur. The only way out was for Garner to be taken out, or made comatose as happened here, though I expected he'd be in trouble later in this season or next. But, like Dr. Walden last season, he's conveniently in a coma, ready to be utilised by the writers should they need him, which is always good.

The episode was ably directed by Miles Millar, with some very nice sweeping camera moves and lighting decisions (such as the flashbacks), although I think the directing was another factor in making the episode more detached from the season. There are many references, big and little, thrown into this one, so you had to be paying attention, but the performances were the important part, along with the arcs moving further. The biggest revelation comes between the Luthors, and something almost too momentous to take in for Lionel.

With only three episodes left, can the series be wrapped up convincingly and satisfy the viewer? As a whole the season has been hit and miss, the first you could say that of, but there have been moments and there have been times of the series fighting through the difficulties. I hope it recovers.

***