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*** This review may contain spoilers ***
The tenth season of the show comes to a close with a very mixed bag of
a serial, with a lot going on (not all of it good), lots of ideas (not
all of them working) and plenty of events. With a Chamberlain
reference, a mine is promised to be reopened while, deep underground, a
man flees something in fear a green growth on his body. Something
appears to be going on down there, and is it related to the waste from
the nearby Global Chemicals company? As the Doctor and UNIT get
involved, things go from bad to worse as some form of creature is
emerging from the mine, threatening the area and, ultimately, humanity.
But why does Stevens over at Global Chemicals seem so nonplussed by it
There are ideas here of environmentalism and corporate greed and these at first seem to form a perfectly reasonable base for the narrative, leading to the appearance of the maggots without a huge leap. This narrative gets muddled though as we find a new villain in the form of the self-aware computer BOSS, who it turns out is behind everything over at Global Chemicals. I didn't think the additional enemy was really required or worked well there was not enough time to really make this foe into something interesting, and it sort of feels like a distraction when really it is the centerpiece. The maggots themselves are good effects and they do tend to have more of a threat than they first appeared; some of the effects showing them in crowds are poor and there seems to be a lot of model work and back-projection, all of which looks consistently poor.
The writing is also a bit variable. At first I liked the humor of the opening episode, with the Doctor heading off on holiday to Metebelis Three, only for us to frequently cut to him up to his neck in trouble, which I found pretty funny. The use of Welsh miners and well-meaning new age liberals means that too many characters are caricatures with little to do but reinforce stereotypes. Some the cliffhangers are good, but then at the same time we also get nonsense such as the Doctor sneaking into the base as a milkman, then further evading capture by dressing as a cleaning woman. Add to this the way that the maggots are defeated by mushrooms, while the next stage in their lifecycle (the big threat to earth) is somehow killed by throwing a coat over it.
An aspect which the show does do well is the exit of Jo from the show. I had commented in the last serial that she had steadily grown since she first joined as a bit of totty whose lines either involved screaming or asking for something to be explained; she had come quite a way from just that, and it is fitting that the "fledgling flies the coop" as the Doctor observes. Although it happens quickly at the end, the link to the Doctor is good, and the ending has restraint and a real sense of emotion about it; helped in my case by me not knowing that this was her final episode. Manning works it well, and it is a good way for her to end. Pertwee works well alongside her in these scenes, and also does the action well. Courtney is a welcome return to the show with UNIT, however most of the supporting cast is only so-so, with the bigger performances tending towards ham more than anything better.
The Green Death still has more than enough to make it interesting and entertaining even if some of the bits are unintentionally entertaining by virtue of how silly they are (poor effects, the Doctor in drag). The narrative is muddled by too many ideas trying to exist in one plot, but the way Jo exits is well handled and memorable, with extra impact for being reminiscent of Susan all those seasons ago.
*** This review may contain spoilers ***
A fox is being chased by a hunter and, within a few seconds of the film
opening, he is shot dead. His spirit continues to run though, and he
finds himself in a whole new realm, with other animals recently
deceased also experiencing the same.
I have some issues with this short film two in particular; however despite these it did still work for me, with the darker ending being particularly memorable and quite moving. The presentation style for the most part feels like The Snowman in the safe images of playing animals (or their spirits) and quite uplifting ideas of the afterlife and such things; it works, but at the same time I felt it was softballing me with what it was doing, and it mostly felt like something produced for an early afternoon television slot during the festive period. However, as the film spends longer in this spirit world, we warm to the fox and the rabbit, while at the same time start to understand how it works. This leads to a conclusion which I was quite surprised by for a couple of reasons.
These reasons are connected because on one hand I was surprised by how much I felt as a result of it, because up to that point I had been quite cynical of the film's approach; but also I was surprised that I still felt this even though it was, in essence, a rather heavy anti- fur statement. This is not to say I am pro-fur, but I am generally anti-emotive political statements, so it is to the film's credit that it manages to have its cake and eat it with me, because I still felt moved despite the rather obvious heart-string pulling of the majority of the delivery, combined with the message of the conclusion.
So, not without issues, and probably these issues will affect more people than would be ideal it certainly does walk a very line of being manipulative; however for the most part it is nicely done, and does have the emotional impact it intended to.
Newspaper cuttings of child disappearances, suggestions of a cult being
involved, a photograph sent to an investigator from someone called
Johnny Hollow all of the things are connected, and the photograph
holds the answers if we can only look closely enough.
I am not really sure what to call this film; for sure it is a type of animation but then we also have real elements, although technically none of it "moves" since the majority of the film is spent with the virtual camera moving in and around the photograph, providing information behind the image of 4 people and a baby seemingly smiling for the camera. Much like the "enhance" feature in shows like CSI, the movement of the camera into and around the photograph goes far beyond what "looking closely" could provide, and it really opens up the image. It is surprisingly compelling, and I did find myself leaning a bit closer to see everything as the camera/eye moved around and in/out. What helps the sense of building immensely is the great soundtrack by, erm, Johnny Hollow (not sure if that is a real name or not!). The music builds tension, and steps up at all the right points.
The Gothic imagery, and the hints of ominous violence in and around the photograph build with the sound, and while there is not a narrative per se, it does engage and start to get quite gripping until the creepy conclusion. A very well imagined short film, with a good idea which is well delivered on with great camera movement and invention. Pleasingly creepy and tense.
I have seen a few documentary shorts recently which are similar to this
one in that they focus on a particular person whose life, job, or
experiences are outside of those most of the rest of us would have.
With the most recent examples there were some that put a lot of effort
into beautiful glossy shots, almost to the point where the person was
lost within them. With David Beazley's film we have a much better mix
because, although it is well shot and has good images of the craft of
forensic photography, the best thing it does is to just let Nick Marsh
talk, and for us to regularly see him talking too not just hear him
in a narration.
Marsh works for (or with) the Metropolitan Police and, at time of filming, has worked with them in the field of forensic imaging for almost 30 years, so he probably knows a thing or two. The potential for this to be a dry procedural documentary is right there, but the film avoids this because Marsh is very good at talking about this subject (Google shows he has books and does talks), but also Beazley's editing does well to bring out the key points and have a flow to the film that makes sense. I found it very interesting to hear about the creative aspect of the job, the precision, the techniques, and generally the craft to the work. Also appreciated was that the film did not go out of its way to debunk the way this job is shown in CSI and other crime shows, but rather it just focuses on itself and lets us worry about what other images we may have in our heads.
In the end it is a fascinating little film; it doesn't have the time to go deep into the subject, but it is well edited to interest and inform at a certain level, with an engaging focal point in Nick Marsh.
A man returns to the home of his once-estranged but now dead father, to
find the machine that took the father from the family unit (a
memory-powered machine to turn metal to gold), and a letter from the
father addressed to the son. From here the majority of the film is the
voice of the father reading the letter out to his son.
Mostly this is a cautionary fairy-tale, with a background of darkness but ultimately a warming message of family and what really is important in life; so as a narrative it is pretty simple, but as with all good stories, it is the delivery that makes it rise about the basic bones of what it is. This delivery is strong in several ways, the most apparent of which being the animation. It is technically impressive through, with such a high standard that it is hard to believe it is a short film released for free on the internet and funded by a kickstarter campaign which is not to look down on either of those things, but just to say that it would not look out of place next to Frozen or a product of much greater resources. However, it is not just the technology but how it is used that makes the animation work. There is a great creativity to the design of the machine, and the way we follow the memories through the various stages, with images and transitions working really well as the camera moves along with them; it is such a good flow and such imaginative images that it is hard not to love it.
The use of John Hurt as the father's voice is equally important as it provides a core of warmth to the narration; it is not just that he has a distinctive voice, but more that he has a great voice, and his performance makes the most of it, feeding the emotional core and the feeling of the fairy-tale. These work together to produce a beautiful piece of animation that is better than the simple moral message it delivers, because it makes it work and overcomes cynicism.
Difficult to really describe a film like this since unless one was the
creator, I doubt you could really put a finger on what it is about and
what it is doing. We join the story towards the end and, through
fragmented delivery in several acts, we see the tortured relationship
between a dismembered man and a forest spirit. I am not sure if it is
about love or about man's relationship with nature (maybe both?) but
the film essentially shows a relationship of mutual cruelty which
spirals from anything better as a result. The resulting split brings
freedom but then an appreciation of the original intertwined benefits
of the man and his nature.
I think. There certainly is a heart to the narrative, but at the same time there is a gross, nearly disturbing, collection of images and scenes showing male nudity, dismembering, torture, and the like which sounds bad but yet it gets away with it thanks to the "dark fairy- tale" tone that it has throughout, so there is that sense of humor rather than cruelty to it all. The narration helps with this a lot, giving a gruff, brooding delivery, while the music is very well selected and used. The animation is not to my taste personally, but the film is not for framing but rather watching, and as such it is creative, surprising, and pleasing in a slight grotesque way.
The lack of a nice clean narrative arc, and the mix of graphic ideas and images to present the central relationship dynamic will put many viewers off and, while it was not totally to my taste, it was engaging at the core and the means of delivery even if they did not perfectly marry up for me in the total product.
This short is one of light touches and there the feeling by the end
that very little really happened but yet the film still engages and
informs a lot more than it appears on the surface. The feeling of being
isolated and tired is tangible at the start of the film, and we
understand the gap that is causing the problem. It is not clear if
smoking weed was something Rosemary used to do with her dead partner,
or long before, but this is how she decides to try to break the pattern
of her life or insomnia and not being able to relax. The quest for
drugs takes her onto a rough council estate, where an older white woman
does rather stand out.
The majority of the film takes place on the estate and this is where the film is most engaging. The connection between Rosemary and Tyrone seems genuine, with both of them not being the stereotypes that we expect, but at the same time the film never gets anywhere near being "hey, we're all the same on the inside, I mean, yeah?" about it, but again continues to have a delicate touch in the writing and the delivery. Of course there is the sense of it all being a bit light overall, but generally it weathers this because we are drawn into the two characters in particular the interactions on the estate are engaging, with the performances from Neubert and Tripp making it work.
Technically the film looks good, with the external locations on the estate being well used and well filmed. The conclusion of the film is maybe extended longer than it needed to be, but it still works well in the point it makes and the sense of peace that comes. It is light and it is not without some issues, but I appreciated the delicate delivery from the writing through to the performances.
Thinking About is wonderfully set in an 1970's catalogue style world of
beautiful people, with sepia coloring, 70's fashion/bodies/hairstyles
and locations. They all stare into space while the unseen contestant
has to guess what they are thinking about which is invariably the
sky, the ocean, a bay, or something like this. The game plays out very
well until one of them starts to wonder about something, rather than
think about something.
As a piece of design this is very nicely done and it was very impressive to see how the film had captured the look and feel of another period; not just in small technical ways, but through the makeup, fashions, poses, and even the framing of the shots and the design of the in-game graphics. All of this was pleasing and it distracted for a while from me noticing that I didn't really find the game particularly interesting, or have a lot of content to get into. There is something over the problem of people "wondering" as opposed to contentedly "thinking", but it isn't really expanded in a way that provides something satisfying, funny or even particularly memorable from the film. This feeling is compounded by it running longer than it really has any need to even though it is only 5 minutes long.
Worth seeing for the design and delivery, but beyond such aesthetic things, I did not find too much else.
Batz is a frantic animation that sees a young, adventurous bat chasing
a mosquito down into the belly of the underground, bringing both him
and his prey into contact with another bat who, due to a bad childhood
experience, is terrified of mosquito a fear they seem all too aware
of. What follows is a fast-moving chase sequence through tunnels and
trains in the city.
As a piece of animation, this is effective because it has a lot of movement and a lot of energy; the chases occur with lots of fast movement of the virtual camera, but also good design in the places and situations, so it has a lot of style and flair to it, not just the technology to deliver upon the idea. All of this makes it distracting but the problem I had was that there was not quite enough beyond this. I didn't really care for either character, visually or for their characteristics, and generally the action seemed to be mostly about the movement rather than laughs or thrills. This is not to say it is totally lacking in these, but it is neither as funny or thrilling as it needed to be, and just moving quickly is not enough to cover for that.
Ultimately it is quite fun for what it does well (the animation, the energy, the movement), but it lets itself down for not doing more and doing it well. Worth seeing for its strengths, but for most viewers I guess they will be looking for more than this delivers.
Judith & Richard are a couple who started collecting plastic that
washed up on a small section of Kehoe beach in northern California. To
mark one of their first dates together, they made a piece of art from
the plastic, and this is a passion that continues. Related to this the
pair are raising awareness of the issue of plastics in the ocean, with
the example of their own small 1000 yards section of beach being a
microcosm of the bigger problem. As they prepare for an installation at
San Francisco's MOMA, they talk to the camera about their work and the
Speaking as one lacking creative talent, I do not mean to suggest that any type of short film is easy to make, however, much like reality television is quicker and easier to produce than period costume dramas, so too character-focused documentary shorts must be more accessible to make than a more formal narrative short. Of course having a good subject and using them well is key, and here the film gets this right as it has two odd characters but also an important issue. Richard and Judith are not particularly odd, to be honest, they just a very unusual life as artists, making their work from what the sea provides (well, that and whomever put it there in the first place). They are engaging in that sort of benevolent way that people can be, but they are not raging hippies at the same time; their message is well delivered and I like the controlled way they link to a bigger subject and I would have liked to have seen the rest of their piece for MOMA.
An interesting short film, which doesn't outstay its welcome and gives a brisk but engaging picture of this artist pair, and why their work should be of interest.
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