The Siege of AR-558

DVD, DS9 S7 (The Siege of AR-558)

The brutal realities of war are the focus of this unique tale. It's as relevant today for it's reminder that the troops who go into battle against the enemy are real people, not just a load of names to be forgotten. The harsh conditions of physical, one-to-one warfare are brought home, but not just for the humans. This being 'DS9' we get the Ferengi perspective too. Quark ends up sounding like Neville Chamberlain. He's just an old-fashioned Ferengi and it's funny how so much social change happens around him, even to him, perhaps partly thanks to that little family of Quark, Rom and Nog all learning from the humans and other races they lived with.

Rom turns out to be a progressive member of the greed-loving race (though he only gets a cameo in this episode, alongside Vic), and Nog long ago chose to make history as the first Ferengi in Starfleet. Once again the unique qualities of his people prove useful, as he becomes the only 'sensor' to the sound of the Jem'Hadar approach. He is wholeheartedly a Starfleet officer, yet retains his Ferengi heritage, which is a positive message in itself! Quark is really just worried for his nephew's safety, which proves to be a fair concern when the young man loses his leg in a shock moment.

The series loves to stretch its characters, put them in new situations and this episode would score on both counts. About the only thing missing is Worf, to take on the Jem'Hadar, but 'DS9' isn't in the habit of too much repetition and we've already seen everyone's favourite Klingon take on the Gamma Quadrant warriors plenty of times. This was more about the faceless masses of Starfleet forces, the ones we hear about, on the front lines. In a way it is 'Star Trek's tribute to the real soldiers who have to do the dirty work. It proves that war is not all clean phaser disintegration and long-range torpedoes, even in the 24th Century.

The cave set just keeps on giving. It works as the rather fancy communications device (complete with Dominion shield ring as seen since the Jem'Hadar were introduced), which is the prize these people are holding, as well as the vantage point for Nog's reconnaissance. The colourful characters may be cliches of war film (the jittery one, the one that collects trophies of his kills, etc), but they aren't the kind of people we see in Trek very often, if at all. The waves of enemy attacking is well shot, but I was expecting the music to take over the sound, but it does actually still have the noise of battle. Still, they did that kind of thing very movingly before in 'Rocks and Shoals' so they obviously didn't want to be unoriginal. We see the futility and the purpose of war, all wrapped up in a bundle of nerves and redemption, courage and craziness. I don't think you could compare this episode to any other episode of any Trek.

****

Once More Unto The Breach

DVD, DS9 S7 (Once More Unto The Breach)

A fitting tribute to the Dahar Master Kor, the first Klingon ever, and by extension, the original series. I love a good Klingon episode, and that was the very definition of a good Klingon episode! Victorious singing, spinetingling ship battles, but also more than that, the quest of the old for purpose, recognition and glory. It is the Klingon way. At first I wondered why I had thought so highly of this episode in the past. It makes you smile when Kor appears on Worf's doorstep, even if it is unexpected, and to have General Martok angry against the man, in an analogy of class warfare, added spice to the Bloodwine.

But the B-story about Quark mishearing Ezri was meagre, resolved too quickly. He should have gone around telling everyone on the station so the gossip snowballs into something crazy, to get the humour out of it. It was a fun little thing, especially the resolution, but I could see them getting more from it. And now Quark's convinced himself that Ezri loves him! I also felt there were a lot of scenes with Klingons talking and planning, before we really got anywhere. But when we did! Oh, there was so much going on. The CGI raids were superb, getting that 3D and 360 degree feel of space so well. When the Birds of Prey drop to the planet you almost feel your stomach drop with them, it's so effective. And to give Kor his chance only for him to blow it, his age getting the better of him, made him a tragic pitiable character that you feel for when Martok and his crew make fun of him.

But Martok is a great man too, as his old aide Darok notes, so he realises his bitterness is worthless. He eventually sees Kor for the mythic figure of old, once he has gone back with the single ship to take on ten Jem'Hadar vessels in one last gesture of honour. Is Kor the oldest character to be played by the same actor from first to last episodes? No, that currently goes to Spock, who was in Trek a year before Kor, and his last appearance to date was ten years after. But Kor is still one of the oldest recurring characters, one of the links to the classic series, and one who brought great fun and dignity too. So his passing is one of happy sadness, and like the character he played, John Colicos went out not long after this episode, this being his last performance. A fitting parallel.

****

Thor's Hammer

DVD, Stargate SG-1 S1 (Thor's Hammer)

This was better than the more 'passive' stories like 'The Nox', and it was interesting to have the Asgaard introduced, although it would have had more impact if I didn't already know they were just Grey Aliens. Here their mystery is strong. The downsides were that not much happened really and the scenes set in the 'labyrinth' were very set-built in feel, despite the nice lighting in the pool area. Felt too much like an indoor set despite being high-walled - not like the temple in the first episode which was far better (possibly they used the film set which would explain it).

Lush, expansive outdoor scenes, with some beautiful visuals, help to contrast with the caves, although they still end up looking too light. Unas was a great monster, but was disappointing in what he did, plus there was a bit of inconsistency in that he gets killed the first time, but subsequent times the bullets just make him stumble backwards. He can come and attack much quicker. A nice touch to have it voiced by James Earl Jones though, even if he makes you think of Darth Vader!

The atmosphere is created more in the dialogue of ancient myths than in the actual execution, where, as usual, the actors are forced to wander slowly through or they'd run out of set. Again, they keep the ongoing story alive by having the device relevant to the predicaments of Sharray and Scarra, and Daniel's agonising decision to save Teal'c instead of keeping the technology going. One problem: the Goauld have sent missiles and weapons against the Earth Stargate so why couldn't they just send such things to blow up the statue of the hammer? That Stargate doesn't have an iris. Even so, some good stuff, even if the music makes things seem a bit ponderous sometimes.

***

Haven

DVD, TNG S1 (Haven)

Lwaxana Troi makes her first, startling appearance, creating another legendary role to add to Nurse Chapel and Number One. Right from the off, talking ten to the dozen she makes her mark on audiences, with her strange and lofty valet, Mr Homn. It would be interesting to stand him next to the Grand Nagus' servant, Mai'Hardu and see who's tallest! Though Wyatt's connection with Ariana is explained as some weird, hokey thing, the rest of the episode makes for a good story. It gives us some knowledge on Betazoids, and I couldn't help but think of Riker and Troi's final fates in the future. Seeing them together on the holodeck, talking, it's so strange, but brilliant, that we can see them go through their lives. They seem so young!

The feud between the humans and the Betazoids was quite entertaining, just as Data admitted - "please continue the petty bickering: I find it most fascinating." After an episode not featuring Troi, it's good to have one focused on her, but what makes the episode a bit more intriguing is the addition of the Terrellian plague ship into the mix, and it's a nice resolution to have Wyatt join the people to help them. I'm sure Wyatt's Dad played another role somewhere on Trek, but I'm not sure where. Great fun seeing Armin Shimerman, uncredited, as the face of the gift box!

***

Hide and Q

DVD, TNG S1 (Hide and Q)

Q makes his first return to Picard's ship, and this time he is closest to the Trelane-inspired template, even down to the ending where he seems to be carried away by his fellow Q. This really shouldn't be as enjoyable an episode as it turns out to be. For one thing it takes a long time to get to the point, with more talk about what could happen and what will happen, from Q or the crew, than action. It also feels a bit clunky as if it hadn't been completely finished by the time the script was used. The soldiers on the planet are constantly described as 'things' which seems out of place, and lines of dialogue seem not quite right, with pauses or whatever. And Tasha Yar the tough security chief starts snivelling simply because Q has put her in the 'penalty box' so that she needs comfort from her Captain. As touching a scene as it is, it doesn't ring true for her character.

Q's insistence that they will play games (another big facet of Trelane's) is, again, mostly talk. The only game they have is shooting (or not shooting as the case may be) at the soldier creature... things. Q is as enjoyably irreverent as before, but I notice in these early episodes that Picard hasn't yet come to understand the being as much as later, and he tends to give him more rope than in their later meetings, instead of immediately getting angry! I just realised that Deanna Troi wasn't in the episode at all. Does that mean her character is so superfluous that she doesn't even register as missing, to me?!

There are some really good visual moments in the episode, with Q taking on Data's unique appearance for a while, Worf and Wesley both skewered (the boy graphically so!), and the first time we see Geordi with real eyes. It's always such a magical moment in the snatches of a glimpse he gets (it was done best in 'Star Trek: Insurrection'), and though the episode had some moments of oddness in characters, there were also these strong and very true times as well.

The female Klingon was a bit crazy, and it seems strange to hear Worf say his culture is alien to him as he later learns to embrace it much more. Also, Wesley takes man form, yet creepily still talks in the same boyish voice. With those huge hands he looks something along the lines of freakish! We didn't get to find out what Picard, Crusher or Tasha's dreams were, but probably just as well. Again I say it: despite all the craziness and a buggy script, it comes out really rather well, even if Riker does become haughty a little too quickly. And the first episode title to have Q in it, as would become the norm.

***

Two Days and Two Nights

DVD, Enterprise S1 (Two Days and Two Nights)

A really good mix and one that features all the characters equally well, which is rare on this series! I had forgotten Kellie Waymire had a third appearance as Ensign Cutler, so it was really nice to see her again, and that whole plot with Phlox' hibernation was hilarious! If only they could use him in weird and wacky moments like that more often! There was a good variety in the crew's stories, with, ironically, Hoshi being the only one to enjoy herself while everyone else tries to make out that they had a good time, but really were imprisoned or pulled into some plot.

The only niggly thing at the end is that the woman Archer meets who turns out to be a Tandaran, never revealed her true mission or whatever was going on. Clearly she had been sent to gather details on the Suliban from Archer but it would have been better if they had given us more info, or if they wanted to leave it like that they should have made a sequel out of her somewhere along the line. After talking about going to Risa for a couple of episodes, the crew finally make it, and it's a crowd-pleaser to have such things and to have the continuity references to other episodes this season.

The episode does a solid job in all respects, tidying up our recollections of the first season, giving us the modern equivalent of the original series' 'Shore Leave' and providing multiple plots that were all interesting and giving us a chance to have all of them to some degree, in different situations. Good fun, and perhaps the best Risa-themed episode ever. Interesting also, to see Dey Young, who was the mysterious guest Archer meets - she played a similar kind of role in the 'DS9' episode 'A Simple Investigation'.

***

Casino Royale

DVD, Casino Royale (2006) film

Like the monochrome opening sequence, this film is in hard and stark contrast to what’s gone before. If your idea of Bond is a sit-round-at-Christmas family experience, then you’re in for a rude awakening. Bond is no longer ‘cuddly’ and safe, he’s now more edgy, with less of the classic one-liners and more of the pugilist put-downs. Mind you, after all the rigours he gets put through here you can allow him some degree of grumpiness. And to be fair, he does portray the humour and charm we’re more used to but in a quieter way, letting his fists do the talking...

He’s never found true happiness and he’s probably not going to do so this time. In fact we find out the reason he’s so hard to know in the later stories, with a more vulnerable Bond than has been seen before. Ian Fleming’s original novel’s influence, the first story about the English spy, is felt heavily and apparently stayed close to the story, right down to the famous card game. One criticism that has been levelled at the film is that sequence which is a large part of the story, and perhaps loses some of the momentum unless you are familiar with the intricacies of the game, though some interesting events occur during the recess: Bond’s return to the game is more heroic than you’d expect...

Bond’s first mission is more about the physical rigours of an agent than more familiar elements of guns, gadgets and girls - indeed, there are a lot of changes for long-term viewers, but also a few nods to the past. While the well worn theme tune is practically nonexistent, the soundtrack is buoyed by the stirring ‘You Know My Name’ which is as good as any before it, particularly striking up during the action sequences. The opening credits sequence is worth mentioning too as it goes back to the classic 60’s designs, with less of the psychedelic and more art nouveau animation, and makes for an impressive opener, especially with that rousing theme. There are knowing uses of the traditional elements of Bond (including a fancy car, which was destroyed during the rolling sequence and actually broke the world record for barrel rolls!), and a chance to see Bond’s first meeting with recurring character Felix Leiter, CIA. Dialogue is only cringe-inducing during the forced product placement when characters blatantly draw attention to brands; it mars the rare scenes it occur in.

I felt more detached from the character because of the unusual vulnerability and lack of charm of this ogre of a gorilla, which seemed to lessen the character a bit, where the previous, Brosnan Bond, gained a lot of sympathy through his witty words and sharp suits. Perhaps he’s more a working man’s Bond and Daniel Craig certainly works hard to show the reality in the painful situations he faces, and proves a fine action hero. It was just the subtleties and humour I missed, but perhaps they are even more subtle this time?

The villain Le Chiffre was okay, but skill on the card table isn’t one of the most evil machinations I can recall, and he lacked a strong presence, with events occasionally out of his control, thus lessening his threat status and diminishing Bond’s heroic, though he does have plenty of villains to deal with. (And he didn’t have a vast underground lair, but that’s just a quibble).

Realism of settings and events is much higher compared with the sometimes cartoony, borderline sci-fi of recent films - no room for invisible cars here, which perhaps is a shame, but does give an excuse to put Bond through the wringer with less reliance on gadgets and “no cavalry coming over the hill” as one character puts it. This is assisted by the lack of CGI effects to overshadow the story as many modern films end up using them to their detriment. Here they’re used sparingly, with Craig in there doing the stunts in most cases, making for a much more involved experience for the audience, not being taken out of the action by a hokey computer shot. However, as seems to have become common in recent years, fight scenes, while fairly brutal, tend to be too juddery on the camera moves and less about the graceful hairsbreadth escapes than in the past, though this style suits one scene well: as Bond fights a machete-wielding assassin on a stairwell, tumbling, leaping and defending himself and his girl. Bond is as always best when dealing with nefarious types, and my favourite moment was probably the desperate fight in the driving seat of a petrol tanker on course for a plane (look out for the director who made a cameo as the guy who gets killed filling up the tanker).

The film justifies it’s 12A rating with the infamous torture scene, that manages to keep on the right side of acceptability by Bond’s gallows humour, but it doesn’t hold back on his suffering. And suffer he does in this film, he’s put through all kinds of pain, from crashing through walls, to a constant pummelling from the baddies. The most impressive being the ‘free running’ sequence an unstoppable race after a villain - every few moments smacking into something or leaping to the ground, relentless despite injury: beaten, bruised and bludgeoned, poisoned, punched and pleased to get a holiday by the end, no doubt. Called a blunt instrument by M, with whom he shares an interesting association, much like the Brosnan-era of not doing things the way she’d like. M seems a harsher character, and after being unsure whether he should have been promoted to ‘00’ status, only at the end does she tell him he finally understands the position.

Bond has always been a bit grey in the morals department and this is lightly skimmed over in the film, but after the closing credits he’s definitely become a different man, his ‘armour’ forever up to everyone, making for a downbeat ending. However the threads that run through of a mysterious organisation called Ellipsis make you want to see the next one soon to find out what it’s all about. It's just a shame the sequel 'Quantum of Solace' took a lot of backward steps while also, like every action film since the mid-noughties, trying to be Bourne, but making it an editorial jumble. It doesn't tarnish this film's quality, but when you know the annoying way they tied up the story, it doesn't have that anticipation that we were left with before the sequel came out.

***