sophie-wise Reviews

Game of Thrones: Walk of Punishment (2013) Season 3, Episode 3

Tyrion Remains the Star...

[9/10 · 14 May 2013]

This week's episode of Game of Thrones felt a much better improvement on last week's affair. We continue with each character trope, both of great and small significance, but with better pacing and intermittent moments of pure brilliance, crafted by the collective genius of David Benioff and D. B. Weiss.

Things aren't going particularly well for the Stark family to say the least. Not only is Robb mourning the loss of his grandfather, he still does not know the whereabouts of his brothers Bran and Rickon and is now having to deal with his uncle's (Edmure) bad decisions. Edmure sacrificed men in the kidnapping of two Lannister cousins, both of whom do not hold much worth in the act of competition against the Lannister family. Robb expresses his dissatisfaction, declaring they cannot afford to sacrifice men, especially against Tywin Lannister.

Speaking of whom, in King's Landing Tywin holds a meeting with the small council. Cersei sits loyally by her father, not saying a word, nor having to as her facial expressions speak far louder. As a clear act of defiance, Tyrion moves his chair to the other side of the table. The lack of dialogue make it a wonderfully comical and poignant moment, continuing to prove that at the very least, Tyrion is the rightful king of wit and wonderful performativity. He is also, as a result from the meeting, the new Master of Coin.

Elsewhere in King's Landing, other than seeking advice from an ever creepy and suspicious Littlefinger, Tyrion treats his squire to a visit from not one, not two, but several prostitutes as a thank you for saving his life. Contrasting the previous weeks in which sex and nudity has been relatively tame for the show, this week showcased naked women, one of whom had no shyness in demonstrating her flexibility. Problematic objectification of women? One could most definitely argue yes. But on the other hand, however, we have a character like Daenerys – a strong willed female, purchasing 8000 slaves and causing two rugged men to compete for her approval. In response to the phrase, "Valar Morghulis" (meaning all men must die), she replies "yes, but we are not men". This paradoxical portrayal of women is atypical of Game of Thrones but is a debate only served justice in an article of its own right. It just felt that the objectified vs. almost-feminist paradox was particularly prescient this week.

Mance Rayder and his men, including Jon Snow, come across the patterned remnants of an attack from the White Walkers. The only corpses apparent, however, are those of horses, causing them to question where the Nights Watch are and if they're even alive. Mance decides to send a crew of 20 men to the wall, including Jon Snow. He wants to create the biggest conflagration the North has ever seen. Remaining members of the Nights Watch continue their long march back to the wall. They take shelter at Craster's Keep – the oppressive home of misogyny and sacrificing baby boys.

Theon Grayjoy is released from torture and captivity as promised, and sent away on a horse. He is eventually found, however, and is chased down by his captors in a brilliantly choreographed, intense sequence. Theon is once again saved by the man who released him, as he skilfully (and quite brutally) shoots down each person.

Arya and Gendry continue travelling with the Brotherhood without Banners, but Hot Pie decides to stay and serve as a baker. Queue a brief but heartfelt goodbye and a nice moment of childhood innocence, most welcome amidst the adult ethical and moral issues.

Jaime and Brienne remain captured by the men of House Tully. At night time, as Jaime had warned, the men take Brienne away to rape her. At first she is beaten, with Brienne fighting back every step of the way. Taking place off camera, Brienne's screams cause a glimmer of humanity in Jamie as he looks rueful. In typical Lannister fashion, he uses his charm and promises a plentiful of wealth if both himself and Brienne are returned unharmed and undefiled. Brienne is saved and we are led to believe that so too is Jaime. However, the leader of House Tully is disgusted by his charm and use of family wealth and proceeds to chop of Jaime's hand. Queue end credits and the most random choice of musical accompaniment, so abruptly exporting us away from Westeros back in to the real world I thought my Itunes had sporadically booted up.

As Game of Thrones so typically does, this week was once again a fragmented mix of each character trope – some more entertaining than others. Overall, however, the pacing felt far better and as a result, made the episode much more captivating. The little things also made all the difference, such as a moment of childlike innocence, a well orchestrated chase sequence or a cleverly crafted pattern of horse corpses. Although this week's particular highlight was once again in King's Landing, via Tyrion's comical act of loudly dragging the chair across a silent meeting room – a standout moment... that, and a blunt ending.

Game of Thrones: And Now His Watch Is Ended (2013) Season 3, Episode 4

Things are heating up!...

[9/10 · 14 May 2013]

This series of Game of Thrones has continuously proved its status as the epitome of quality television. Whilst the majority of each instalment includes a variety of characters walking places, with the occasional sword fight thrown in, it is the visual flare, quality dialogue and top notch performances that captivate us audiences each week. Episode four remains very much the same as each character trope is once again developed that bit further. However, you know that recurring feeling of expectancy? Of a moment or event that such development is undoubtedly building toward? Well let's just say it has begun.

Across Westeros, Jaime and Brienne continue to be abused and tormented by their captors, Jaime more so through a variety of trickery (horse wee anyone?). You have to admire his gusto, however, for attempting to fight back even in his handless and famished state. Something worth greater admiration though, is the development in Jaime and Brienne's relationship, which has undoubtedly progressed into levels of compassion and care. One moment sees both characters sit by the fire and Jaime melodramatically declare he is ready for death. Brienne effectively tells him to 'man up' and eat something. He begrudgingly chews on a bread roll. It is a wonderful sequence and proves that in a time of peril they have become closer - a surprisingly touching motif.

Elsewhere, Theon is fooled by his 'rescuer'. Believing to be escorted back to his sister, he is instead taken straight back to where he was tortured – his father's castle. This roundabout journey provides a moment of discourse in which Theon shows remorse for his actions (primarily the murder of two orphans) and effectively admits a latent desire to be a true Stark boy, but disparagingly knows this will never be the case.

We briefly touch upon Arya and her journey with the Brotherhood without Banners. Herself and Gendry are taken to their secret cave and meet the leader, Beric Dondarrion. He accuses Hound (their captive) of being a murderer, but charges cannot effectively be proved so a sword fight to the death is settled upon.

The Nights Watch at Craster's Keep continue to moan and deploy bitterness at Craster, who has appointed them slaves and withdrawn any sense of hospitality. Just when you thought this act was beginning to get a bit tedious, members of the Nights Watch speak up and Craster is brutally murdered, in addition to the Nights Watch leader. It is a welcomed uprising and a refreshing portrayal of the Nights Watch who up until this point have not proved to be a particularly threatening group.

In King's Landing, Tyrion is keen to get to the bottom of his attempted assassination at the Blackwater battle. He seeks advice from Lord Varys, who in turn offers a personal parable describing his own tale of revenge, the conclusion of which alludes to a "good things come to those who wait" sentiment. Elsewhere, Lord Varys seeks council from Grandmother Tyrell regarding the plans of Littlefinger. Until this point, his actions have been subdued, his presence almost non-existent. However, for the first time in this episode, we get a sense of the trouble that may lie ahead. Littlefinger has proposed a plan to help Sansa Stark escape King's Landing. This, of course, is part of a greater and more selfish motive. If Robb Stark falls as King of the North, Sansa is next in line and this is something Littlefinger aims to be a part of. As voiced by Lord Varys, "He would see this country burn if he could be king of the ashes". This moment of discourse is particularly captivating primarily due to the quality dialogue and strong performances. Although brief, the sense of threat is effectively translated.

Margaery Tyrell is forever at her manipulating ways, feeding to Joffrey's ego (he exudes minimal douche-ness this week) and courting friendship with Sansa. Cersei confesses her disliking of such actions to her father, Tywin, but does not receive the response she had hoped for. Once again, Charles Dance manages to steal a sequence with quality deliverance, perfecting the role of harsh and neglecting father. Compared to previous weeks, however, King's Landing does not boast the episode's top scene or most brilliant moment. That trophy is most definitely awarded to Daenerys and her actions in Astapor.

Daenerys approaches Kraznys, dragon in tow, to partake in the agreed exchange. She hands over her dragon and in return, gets the golden whip providing mastery over the 8000 Unsullied. Once the deal is done, Daenerys tests her new powers in giving the first command to her newly purchased army. In doing so, she reveals she can in fact speak Valyrian. Whilst half expected, the impact of this twist was by no means less effective. In a pure moment of bad-assery, Daenerys commands her dragon to burn Kraznys and orders the Unsullied to kill every armed man in the castle. She instigates an Unsullied uprising. Proceeding this, she offers freedom to the Unsullied, declaring no one will be harmed if they wish to leave. Alternatively, she suggests they stay and fight for her but as free men. It is a risky move but one that ultimately pays off as each member of the Unsullied declare their commitment to their new leader. The episode thus ends on an epic scale (showcasing some top visual effects), as Daenerys marches off with three un-chained dragons and 8000 men in tow. You go girl.

This week's episode flew by, ever-proving the strength of the show's strong dialogue and performances - each small taster per narrative strand shines. The fragmented character trope approach each week is also completely understandable, as the ten minute pay-offs on a sheer epic scale, as we have now sampled, are thus all the more impactful and effective. Things are definitely beginning to heat up and that feeling of anticipation is now increasingly stronger.

Hannibal: Coquilles (2013) Season 1, Episode 5

Horrifying but beautiful

[9/10 · 14 May 2013]

Bryan Fuller unfortunately decided to forgo episode four of Hannibal this week. He has stated that this decision should not pose problems in terms of continuity although just in case, a mini web-series including snippets from the episode has been uploaded to the programme's official website. This swiftly brings us on to episode five, entitled Coquilles. In the words of Jack Crawford, "prepare yourself for this one" as it is quite possibly the most gory and emotionally-heavy installment of the series so far.

As each week has progressed so has Will Graham's profuse amount of sweating, resultant from his plagued psychosis of all things socio- pathic. Now sleepwalking has been added to the mix, which after meeting with Dr. Lecter, is thought to be a result of losing control or to cover up aggression. It's true – Graham has in a way been manipulated into returning to work for Crawford. Lecter brings this up of course, as part of his slow but continual path in presumably pitting both against one another. Furthermore the boundaries between serial killer and criminal profiler are dissipating for Graham; he is increasingly becoming "too close". Regardless, Graham struggles to think cohesively and therefore questions his abilities in remaining to work for the FBI (don't worry - he stays... for now.). Undoubtedly, failing to catch this week's serial killer was a key instigator of this doubt.

Okay - the mushroom fiasco from episode two was a pretty nasty affair. However, this week's contender named the 'Angel Maker' was most definitely a tough opponent as he mutilated and displayed his victims to form praying angels. This enabled the episode to showcase arguably its most gory and disturbing imagery, yet retained that ever-present visual flare that somehow makes each relevant frame captivating enough to form a piece of art. Graham profiled the 'Angel Maker's motive as protection – he had a brain tumour and was afraid of dying in his sleep so created guardian angels to watch over him (something also linked to a childhood trauma of his). Eventually he mutilated himself into an angel, embracing death and beating Graham to his arrest. As always, the serial-killer-of- the-week is a narrative device, a catalytic mechanism to characteristically develop our key protagonists. This week was no different as, not only did he throw Graham off course, but the 'Angel Maker's back story of a brain tumour also linked to Crawford's discovery that his wife had cancer . His revelation provided the episode with its most emotionally-heavy subject matter (and a moment of brilliant acting by Laurence Fishburne). Just in time, as Crawford's character development was almost non-existent up until now. Topic aside, it was great to finally see a more emotional side to him in dealing with such heavy personal issues.

Lecter, therefore, was situated in the background this week, although still managing to shine (and showcase an impressive sense of smell) when he has Crawford and his wife to dinner. The food he delivers looks exquisite and is consequently shot in food-porn territory. However it's a clever little trick as we continuously question the ingredients, further emphasised by the tantalizing dialogue exchanged. When Crawford's wife alludes to being a vegetarian, Lecter insists that all of his meat is from an "ethical butcher", someone who is kind to the animal before eating it. "I'm afraid I insist on it" he says, as if to give a massive wink to the audience. It's a true credit to the cast and crew that short sequences such as these can even carry the whole episode if needed.

Not that it is needed however, because as usual, another week - another stellar episode has passed, leaving us hungry for more. Subject matter was particularly heavy, whether it was Graham battling with his psychological demons or Crawford and his wife facing those of a more cancerous nature. It was dealt with in a smart, well-written and strongly performed manner forever keeping our eyes peeled and ears open. Just in case solid drama was not enough however, the show's gory crescendo managed to reach a new level, once again showcasing how tough imagery can be constructed in an eerily compelling way.

Iron Man Three (2013)

Excellent send off for Iron Man

[7/10 · 14 May 2013]

It's Christmas time for Tony Stark and Pepper Potts, who after the events in New York (also known as The Avengers) want nothing more than to return to a life of philanthropy and ease. Unfortunately it's not as easy as all that as Stark is plagued with post-vortex panic attacks and insomnia, with which the only way to cope is to tinker and spend evening upon evening in his workshop creating various suit prototypes. Then, as if that wasn't troubling enough, some terrorist who calls himself The Mandarin is high jacking television, making threats and blowing up various locations and/or people.

In a way this third installment of the Iron Man franchise is the darkest. For the first time we see Stark in a truly vulnerable state. He loses his friend Happy to a coma and after a public, mediated threat to The Mandarin, manages to lose his mansion, flashy cars and for the majority of the film, his suits. That and a bout of post-traumatic stress and we, my friends, have a dilapidated superhero.The villainous protagonists are also detrimentally ruthless, from the stereotypically ethnic Mandarin (played wonderfully by Ben Kingsley in a role full of surprises) shooting someone in the head on live television, to Aldrich Killian (a previously snubbed-by-Stark scientific engineer) playing with temperatures of over 3000 degrees – the threat feels inconceivably surmountable.

Thank goodness then for the likes of Shane Black who contrasts this sense of inevitable doom with subtle gags (kudos for the inclusion of Downton Abbey and a reference to Croydon) and sharp, sassy dialogue as- ever brilliantly performed by Robert Downey Jr. Laughs both big and small, in addition to an unlikely sidekick in the form of a cool young kid named Harley, gives Iron Man 3 its heart and ultimately carries the film.

It would not be a Marvel blockbuster however, without a good dose of explosive action which Iron Man 3 absolutely delivers and kudos to the special effects team who work wonders with certain suit trickery. Equally the T-1000-esque super-hot humans were visually effective, constantly regenerating and glowing as a result of Killian's Extremis and Advanced Idea Mechanics. However the action also led to the films' downfall. Sequences such as the skydiving 'barrel of monkeys' felt a bit over the top and the last thirty minutes or so did drag on a little too long.

Nevertheless, these are minor qualms outshone by Black's main strength – fast-paced, entertaining dialogue with a mixture of zing, heart and soul, excellently implemented into what is essentially a fun yet smart, action-filled romp. All of which made stronger, by wonderful performances from Kingsley, Downey Jr. and Guy Pearce who so obviously revels in playing the bad guy.

As Marvel's first outing since The Avengers, the pressure was on and it is a true testament to the strength of Iron Man 3 that The Hulk and co were not missed (although stick around after the credits just in case you still have a hankering). However as the believed last installment of the Iron Man franchise, blockbusters boasting this strong a calibre will be - and boy, what a send off.

Game of Thrones: Kissed by Fire (2013) Season 3, Episode 5

Tension reaches new heights

[9/10 · 14 May 2013]

This week showcased another stellar episode of Game of Thrones in which previously dormant issues are most certainly beginning to erupt in a wonderfully foreboding nature and the true price of loyalty begins to surface. Oh and Jon Snow finally has sex. Mazel tov!

First off we return to Arya, Gendry and the Brotherhood without Banners who are serving the 'Lord of Light' and putting Hound's innocence to the test in a deciding sword fight against their leader. Much to Arya and the Brotherhood's dismay, Hound actually wins the fight (against a flaming sword and all) and is released. The Brotherhood announce they will reunite Arya with her brother the following morning but Gendry decides to stay and serve as a blacksmith, sick of being loyal to the wrong people. Poor Arya seems to be losing everyone around her and for the first time, bathed in the light of fire, we see a burning sense of despair that she is inevitably feeling.

Jon Snow continues to questionably serve the Wildlings, but it is fair to say that his loyalty to the Nights Watch is most definitely over after breaking a sworn oath. That's right, thanks to Ygritte's nudey and luring ways, both succumb to the sexual tension that has plagued their relationship. It's a well executed development and about bloody time too.

Stannis Baratheon continues to be almost on par with Joffrey as contender for television's biggest douchebag. He visits his wife with the intention of confessing adultery and impregnating Melisandre. However she is fully aware of the situation, in fact she seems to be on board with it all believing that someone must fulfill such wifely duties of providing a son. Something which she has undoubtedly failed to do, going by the preserved collection of foetuses that prominently decorate her room. She does however have a daughter but keeps her hidden away due to her facial disfigurement. Not a brilliant mother then, and no surprises that Stannis hasn't particularly been the best father either. In fact he has locked away the only man who has, Ser Davos, who remains imprisoned feeling the weighty punishment for straying loyalties.

Jaime and Brienne are finally handed over to Lord Bolton who treats them in a slightly more hospitable manner than their captors. They're even allowed to bathe, providing what is at first a comical sequence but transgresses into another cleverly written stepping-stone in their friendship. In a moment of relentless vulnerability, Jaime is laid bare literally and figuratively when revealing the truth over his 'kingslayer' name. A breakdown wonderfully performed by Nikolaj Coaster- Waldau that will no doubt have consequences regarding Brienne's loyalty to Lady Stark.

Robb Stark is still dealing with terrible bad luck and un-loyal soldiers as Richard Karstark, in an act of vengeance, murders the two young Lannister hostages. Robb is outraged at this act of betrayal and as a punishment, decides to behead Karstark contrary to the advice from his wife and mother. As feared this move resulted in the rest of the Karstark family leaving Robbs army, placing him in a weaker position than ever. He decides his only chance of re-strengthening his army is to take Casterly Rock which will be made possible by befriending Walder Frey – the man whose daughter was promised to marry Robb. Oops.

Back in Astapor there are no moves of bad-ass proportion from Daenerys this week. Instead Ser Jorah Mormont and Ser Barristan Selmy converse in a battle of worthiness and loyalty to Daenerys. It feels only a matter of time before this mode of civil conversation gets a little more heated.

In King's Landing Tyrion meets with Olenna Tyrell, in a highly anticipated union of characters, to discuss the finances of the big royal wedding. It is a brief moment of comical discourse, played brilliantly by Diana Rigg, who out-smarts and out-wits Tyrion, a tough feat by any means. Most shattering, however, is Cersei's reveal (thanks to the help of Littlefinger) that Marjaery Tyrell is planning to marry off Sansa to her gay brother, Loras. In order to prevent this happening and keep Sansa (the heir of Winterfell) in line with the Lannisters, Tywin instructs Tyrion to marry Sansa instead. To the credit of Peter Dinklage, the heart-wrenching devastation exudes from his eyes over the nature of his father's order. Not only will this crush Tyrion and Shae's relationship but there is also a genuine concern for Sansa. Tywin's 'I- hate-my-children' reign does not finish there. He also orders Cersei to marry Loras. She naturally declines of course, but Tywin will not be defied and is adamant that orders will be carried out. Although the proverbial apples do not fall so far from the tree and something tells me it won't be as easy as all that...

In addition to the one or two note-worthy performances, the stand-out element for this week was the episode's overwhelming foreboding nature. From horrific rain storms to over-powering shadows that devour half of the shot – it all alludes to the encroaching and explosive drama that will unfold resultant from the aforementioned character developments. Once again each trope was well balanced, moving at a pace that befitted the narrative. Yet whether its two minutes in Astapor or ten in King's Landing, each moment is continuously captivating.

Overall Game of Thrones continues to simmer this week, as tension reaches a new level – so does the impending sense of doom and devastation. Whilst it does require you to rack your brains for previous plot points, the episode is nevertheless well written by Bryan Cogman, as each character trope is well balanced and distributed. Characters' various loyalties are questioned but with their development of a calibre this high, our loyalty to the show most definitely isn't.

Hannibal: Entrée (2013) Season 1, Episode 6

Tasty Drama

[14 May 2013]

Eddie Izzard stars in this week's Hannibal, in an episode that overtly nods to the cannibalistic canon from which it is part of. The Harris novels and The Silence of the Lambs have been referenced through and through adding extra enjoyment to viewing. It forms a somewhat bizarre game of Dr. Lecter bingo – from Baltimore State Hospital for the Criminally Insane to the not-so-pleasant Dr. Chilton, Jack Crawford's former student, Miriam (aka Clarice) to Dr. Gideon, a slightly more playful version of Anthony Hopkins. Before you know it you're shouting 'HOUSE!', whilst Dr. Lecter serves up a delightful plate of... tongue.

We first join Gideon in the Baltimore State Hospital for the Criminally Insane. After two years of being the most well behaved sociopathic patient (serving time for murdering his family), he faked an illness to end up in the hospital infirmary. Gideon then proceeds to brutally murder his only accompanying nurse, an act we see via Will Graham who cast himself as Gideon to relive the murder - a particularly effective sequence forming the first time we see Graham commit such levels of brutality. The way in which the nurse was murdered (ya know... throttling, eye-gouging and impalement by hospital instruments) equated Gideon with the infamous Chesapeake Ripper, providing comfort to the likes of Dr. Chilton who firmly believes (or forces himself to believe) he is the true culprit and locked away forever. However, one major difference in the pattern of killing (organs - bingo!) puts fear in the heads of Graham and particularly, Crawford, that the Ripper is still at large. Queue various psychological evaluations in a danky cell incredibly reminiscent of the Clarice interviews from The Silence of the Lambs.

Flashback two years and we have the second piece of evidence to prove that Gideon is not the Ripper - Miriam. As a prime student Crawford nominated her to be part of the investigative team when the Ripper was at large. This however, went horribly wrong. So much so in fact, that Miriam died – the guilt for which plagues Crawford to the present day as he is continuously haunted by voicemail messages from her. Who is leaving the voicemails? Is it actually Gideon? Or is he just an adversary? If so, for whom? Whilst we know the inevitable answer to such questions, this narrative enigma strand is so wonderfully written, the intermittent teasing throughout the episode is somewhat enthralling.

In one last desperate attempt to encourage the Ripper to show himself, Graham and Crawford contact their favourite journalist, Freddie Loundes. She publishes a piece assigning Gideon as the Ripper in order to enrage the true culprit. It works – Dr. Lecter's rage overtly exudes from his eyes as he slams his laptop shut. His shining moment arrives at the end of the episode though. Throughout he has been manipulating as ever, teasing the guilt over Miriam out of Crawford. Whilst both drink by the fire divulging thoughts on her loss, the episode reaches its final flashback – Miriam's meeting with Dr. Lecter. It ends in a violent and throttling manner as the shoes come off and the throat grabbing begins.

Bar one or two impaled bodies, this week was relatively gore free. Instead we were treated to a more enigmatic storyline, intermittently teased whilst we revelled in the hyperdiegetic world of Harris' novels. Performances were strong as usual although in comparison to previous weeks, Graham remained in the background. Instead it was 'Socio-path Idol' in which finalists Dr. Lecter and Dr. Gideon were proverbially pitted against one another. Dr. Lecter won out however for having the most potential. His weekly increase of violence and intensity (exemplified in this episode) continues to heighten every bit of anticipation for his next move... and his next dish.

Hannibal: Sorbet (2013) Season 1, Episode 7

My Favorite Episode Yet

[14 May 2013]

"Who's hungry?" Dr. Lecter charmingly asks in a pre-credit sequence. We are Dr! Let us indulge in another magnificent course of this show. As it stands, the Chesapeake Ripper is still at large and the pressure is on for Will Graham and co. to crack the case as two new victims surface. The question is, do both belong to the Ripper or is there another sociopathic killer on the loose? With Jack Crawford eager to catch the man responsible for Miriam's death, the tension is high and the pressure is on in Hannibal's most graphic but elegant episode yet.

We begin in a lecture hall with Graham profiling as much as he can of the Ripper – a useful lesson for students, a subtle reminder for us audiences. We are 'taught' the Ripper kills in "sounders of three", skilfully removing organs alluding to an anatomical or surgical know how. More importantly, the Ripper possesses a theatrical and distinctive brutality – an example of which showcased last week, as the arm of his last victim (Miriam) was left to be discovered, even paraded.

Out of the lecture and into the oesophagus (literally) we join Lecter at the opera in a sequence that boasts beautiful cinematography. The opera singer is lit in a way that presents the utmost glamour and theatricality, setting up a running theme and palette throughout this entire episode. In a post-opera chat, particularly rife with farce, a woman pesters Lecter to cook another feast. In his atypical charming manner, he replies "You cannot force a feast, a feast must present itself... a feast is life, you put life in your belly and you live..." - little do they know he means this literally. Oh Lecter, how you toy with us.

Poor Crawford – Miriam's phone calls remain to haunt him and his guilt is even manifesting itself as an organ-harvested Graham. Is he making a mistake pushing Graham on this case? Regardless, both are called to a crime scene in which a body has been found, organs reportedly removed. Could this be another cycle for the Ripper? Both arrive at the scene, a hotel bathroom possessing an identical layout and colour palette to that of Room 237 in The Shining. It's a nice, subtle inclusion for us horror fanatics out there which will no doubt lead to a minute squeal of glee. As Graham empathises with the killer, the episode delves into particularly gory territory, namely lots of blood and a cardiac massage. From this Graham deduces it was not the Ripper at work but someone else, a killer that didn't mean to kill. As ever, Graham was on the money and they later catch the medical student responsible. Hardly a mushroom growing pharmacist, but a young man who had taken a few too many liberties as a means of getting into the organ harvesting business. With this step back in the case, Crawford asks Graham how he envisages the Ripper, "he looks normal, nobody can tell what he is...". Cut to Lecter.

Each week a little more is revealed about Lecter, another layer is peeled away. We learn that just like his patient Franklin, who is getting a little too involved in the doctor-patient relationship, he too gets lonely. One can't help but sympathise with him as he opens his office door to an empty waiting room. Lecter requires human interaction... and not just for food. He also has his own psychiatrist, wonderfully played by Gillian Anderson. In a brief moment of shared discourse, both converse semi-professionally. She profiles Lecter as a man in a "well-tailored person suit", an analysis so spot on, Graham better watch out. Professionalism soon turns somewhat flirty however and both succumb to a glass of wine – an "unconventional psychiatrist" to say the least. In fact Lecter also flirts with Alana Bloom whilst preparing dinner – turns out our Hannibal is quite the lothario, ever playing to that masquerade of normalcy. His surgical know-how, akin to that of the Ripper, is also discovered by Graham. You'd think this revelation would be a point of epiphany for our favourite FBI profiler but alas, he's victim to that European charm just as much as the next person.

Of course the main factor we can deduce from Lecters repertoire of skills and charm is his penchant for cooking. You think we've seen his culinary skills already? Well think again. After praying on his next victim, Mr Caldwell, the episode spirals into intermittent shots of food preparation that would put any round of Masterchef to shame. The particular mode of editing here, capturing Lecters methodical process, is one of a true craft and this week's highlight. Close ups of organ preparation, a rolodex of victims' calling cards and a recipe box are all cut together, fetishising his cannibalistic process in the most tantalising way. From the operatic score, right down to the calligraphy of each recipe, the whole sequence, and Dr. Lecter himself, possesses pure elegance, grace and beauty. Bryan Fuller is a true master of characterisation and construction. The episode closes with the feast of all feasts, finally, it has life and you guessed it... "nothing is vegetarian".

Two killers and two victims later, the Chesapeake Ripper is still at large, as is Lecters meat supply. Strong character development and dialogue continues but visually, this is the episode that has particularly struck a chord. Graham so eloquently explains this week how Lecter's mutilations hide the true nature of his crimes, how every brutal choice of the Ripper has elegance and grace. The same can be said for this very episode and in fact, the whole series. Shown amidst the preparation for the feast, Fuller surrounds each brutality with a magnitude of beauty - from the operatic score, to cinematography, to food pornography. In terms of art and craftsmanship... this is the best episode yet.

Hannibal: Amuse-Bouche (2013) Season 1, Episode 2

Brilliant!

[9/10 · 14 May 2013]

Last night served the second course of NBC's new horror series Hannibal and I will say from the off, it was brilliant. I know this is only the second episode and no doubt a premature assumption but if the show continues as strong as this, we are in for a true televisual treat.

This week we follow Dr Will Graham and his psychological recovery after his heroic work out in the field, culminating the end of last week's episode. His killing of Garret Jacob Hobbs was considered an admirable act, worthy of granting Graham an official position with the FBI out in the field again. Providing, of course, he is mentally sound. Special Agent Jack Crawford requires he have a psychological evaluation from Dr. Hannibal Lecter. Their meetings that interject throughout the episode really showcase Bryan Fuller's flare for dialogue. The script is filled with one liners, not of a cheesy or dismissive quality, but of thought provoking and pretty philosophical stuff ("killing must feel good to God too, he does it all the time. Are we not created in his image?"). This teamed with strong performances from Mads Mikkelsen and Hugh Dancy really draws you in - even if they converse with one another from each end of the room, we are continuously subservient as viewers to their latent chemistry and connectivity.

This week, a shady journalist named Freddie Lounds (a clear nod to Hannibal predecessors) is added to the mix. She infiltrates various crime scenes and manipulates men victim to her feminine wills, all to gather information and write damning articles. She can manipulate all, except Dr. Lecter of course. His treatment of her was paradoxically charming yet threatening, concluding with the wonderful remark, "You've been terribly rude Ms. Lounds. What's to be done about that?". It was so wonderfully played by Mikkelsen, I couldn't help but grin. Ms Lounds' report on "demented" Graham ultimately places him and last week's survivor Abigail Hobbs in danger, victim to this week's star killer – a dodgy pharmacist named Eldon.

I think it is safe to say that if you are not a fan of mushrooms, this episode will not grant any favours in changing that palatable opinion. Eldon buries his victims alive in a diabetic comatosed state, acting as a form of fertiliser to grow a very particular kind of mushroom garden, and I'm not talking the 'magic' kind. Eldon justifies his actions, believing it to be nature and biology speaking to one another. I understand, my explanation is probably not doing this particular narrative strand any favours, but it is definitely this week's standout moment. In keeping with the show's incredibly stylistic and almost surreal flare, the camera does not shy away from decomposing, mushroom- covered bodies as they are discovered and investigated by the FBI team. It's twisted and revolting - just what we want to see from a horror television series. It also manages to provide a generically conventional but nevertheless jumpy moment of the episode.

My only scruple this week is that the episode ended with Graham shooting someone again. It removed me from the position of a captivated viewer into a moment of "oh...". Thankfully, the ending redeemed itself with another meeting between Graham and Dr. Lecter. In a moment of psychological revelation, Graham effectively admits the enjoyment he felt in killing. Still, I'm hoping his new gun-toting habits will not become a weekly tradition to feature at the end of each episode... poor man.

In the world of cuisine, an amuse-bouche is a mix of delicious flavours to warm the palette, a taste of what is to come. It is no wonder therefore, that it was the title of Hannibal's second episode. It was a delicious mix of intense crime-solving affair and psychological musings, with stylistic craft and skillful dialogue as the strong reigning ingredients. A taster for what is to come? Bring on next week already. This has made me hungry... but perhaps not for mushrooms.

Game of Thrones: Dark Wings, Dark Words (2013) Season 3, Episode 2

Bit of a Struggle...

[14 May 2013]

Last week's premiering episode of Season 3 saw a focused, visually stunning and epic return to our much loved Game of Thrones. Following would be a hard task so it is no surprise, therefore, that this week suffered a lull. A slightly confusing one at that. In this episode the focus is on every other character missed out last week and a return to King's Landing. Additionally, some new faces are added to the mix. That's right... more characters.

Woven together in a mix-match of majoritively non-sensical jump cuts, each character arc across Westeros is covered. In the North, we return to Bran Stark and his younger brother Rickon on their journey to the wall, accompanied by Hodor and Osha. Bran is continuously having dreams, at first dismissed as black magic. However, after meeting Jojen and Meera Reed, the dreams hold more relevance. Jojen reveals to Bran they have been searching for him, believing him to play a critical role in the future.

Child-toasting Theon Grayjoy has been taken captive by a group of unknown men. They torture him, asking questions regarding Winterfell. Despite answering truthfully, the torture continues. At a moments rest for Theon, a boy who claims to have been sent by his sister vows to come to his rescue at midnight.

Brave sword-slinger Arya Stark and her two companions, Gendry and Hot Pie, remain on the run from Harenhaal. They come face to face with the Brotherhood without Banners, who offer them some hospitality. Whilst at their inn, big-man Sandor Clegane arrives as a captive and notices Arya. Upon seeing her, he reveals her identity to the entire brotherhood.

Beyond the wall, Jon Snow experiences his first Warg – a man who is capable of seeing through the eyes of animals – and the Night's Watch remain on an exhausting trip back to their posts.

King in the North Robb Stark receives letters revealing the death of his grandfather and the devastation that took place at Winterfell, resultant from Theon Grayjoy. He also discovers that Bran and Rickon have not been found. After telling his mother, Lady Stark, of the bad news, she then feels responsible for what has happened to them.

In a way, my segmented summaries of each character trope are emblematic of the episode itself. It felt disjointed throughout, and ultimately not as engaging. However, I am by no means saying the quality is not there. Keeping consistent, each performance is great and entertaining, and the new characters this week were interesting additions, some with familiar faces (Mackenzie Crook was a nice surprise). The episode's greatest strengths for me, however, lied in King's Landing and Brienne of Tarth's escort of Jamie Lannister.

If we remember, Brienne of Tarth was sent on a mission by Lady Stark to escort Jamie Lannister back to King's Landing, in the hope of exchanging him for Sansa and Arya. As both treck through various forestry, an unlikely latent chemistry develops. A slew of insults back and forth regarding the likes of one another's manliness provide this week's subtle output of comedy. Their dynamic also showcases some good old fashioned sword fighting action, in a delightfully refreshing clumsy and ungraceful manner.

Yet, events in King's Landing again remain the most gripping, as manipulation is in abundance. Marjory Tyrell and her grandmother grill Sansa over the true nature of Joffrey, causing her to have a mini- breakdown. In an impressive turn by Sophie Turner, it is understated yet emotive, demonstrating the effects of Joffrey's torture and malice. Speaking of which, Joffrey continues to be a joy to watch, brilliantly playing the character that everybody loves to hate. Even better however, was Marjory's manipulation of him. Combing sensual flirtation and a knowing yet naive subservience has the wrongful king fooled. Better yet, it is no doubt the slow start of a progressing battle of feminine wills - newcomer Marjory vs. power-bitch Cersei.

Nevertheless, episode 2 was neither as visually stimulating or engaging. Instead, it felt disjointed and overcrowded. Although, in typical Game of Thrones fashion these various character tid bits are still an entertaining watch and credit is due to the cast and crew for making it so. Still... for me, this week was just not as engrossing.

The Walking Dead: Prey (2013) Season 3, Episode 14

Prey - Review

[7/10 · 14 May 2013]

Tension continues to ooze this week as the Governor's ethics and the safety of Woodbury is continually questioned. Upon discovering the Governor's true plans to attack the prison, Andrea decides she must flee and warn Rick and the gang. She escapes and makes her way to the prison, her perilous journey comprising the majority of this episode. Meanwhile, Tyreese and Allen are continually disagreeing on their place within Woodbury. Allen appears supremely happy with his new gun-toting responsibilities, whereas Tyreese questions the morals of Woodbury's citizens, as they are sent on a mission to retrieve some walkers, or 'biters', to bring back to their walled 'safe haven'. Milton also suffers with an ethical and moral dilemma this episode. Upon the slow realisation of what the Governor is truly like, he is unsure where to place his loyalties. He feels inclined to stay in Woodbury as it is "where he belongs", but the ever present threat of danger and immoral activity can no longer be ignored, nor does he want to be a part of it. Milton is emotionally torn, fully aware of the consequences toward his safety if he too were to flee Woodbury. It is a subtle piece of character development that works rather well. Whilst it is gratifying to see that the Woodbury charm is not fooling everyone, the spotlight of this weeks episode primarily shines on Andrea and the Governor.

Andrea has been a fairly unlikable character this season, her constant indecisiveness and naivety has been somewhat infuriating. However, this week was definitely her time to shine, particularly in an intense showdown with the Governor. Mid-trek to the prison, Andrea is eventually chased down by him, angered by her act of betrayal. He cannot let her warn the prison, weakening his position of attack. She takes cover in an abandoned factory, in which the Governor follows. An intense game of cat-and-mouse is played between both characters, reminiscent of the slasher genre during its prime in the 1970s and 80s. The use of lighting is particularly effective here. It heightens intensity, producing an enigmatic threat - who should we be more scared of, the Governor or walkers lurking in the shadows? Metaphorically, it signals the Governor's ever pacing decent into a menacing sadist, emphasised by his foreboding whistling. Think Kill Bill Vol. 1... but creepier. Overall, it's an incredibly intense and wonderfully crafted sequence, one I will not divulge in any further, but for me it was definitely a highlight of the series.

Other highlights include some brilliant zombie FX. Towards the end of the episode we return to the captured walkers, prepped and ready to be transported back to Woodbury. However, a mysterious figure douses them in fuel and sets them alight. We soon see the consequences - a pile of writhing walkers with some pretty serious third degree burns. Any attempt of an in-depth description will not serve it justice but once again, it is a brilliant example of how such effects from Nicotero and his team make all the difference - so keep your eyes peeled for that sequence.

The only criticism I have thus far is of Tyreese and his band of survivors. I can't help but feel they were introduced at the wrong time. The central focus on the Governor/Woodbury and Rick/the prison leaves little space for Tyreese and his friends to develop. An attempt was made this episode, with questions of masculinity and a battle of egos frequently intercepting throughout. However it felt forced, almost a way to pass time until we can watch Andrea or the Governor again. But who knows, Tyreese and his gang may hold prominence in the last two episodes of the series, which after tonight's installment, promise great things and quite the explosive finale.

Top walker kill: During Andrea and the Governor's intense showdown in the factory. The Governor comes face to face with a walker, an encounter short-lived as he knocks the walker to the ground and plants a shovel right between the eyes. Queue a short snippet of gory fun.

In the Flesh: Episode 1 (2013) Season 1, Episode 1

A Refreshing Take On the Zombie Genre

[8/10 · 14 May 2013]

On the 17th March, BBC3 aired the first episode of a new series entitled In the Flesh. Created and written by Dominic Mitchell, this three-part drama is set in the Norfolk, post-zombie apocalypse. The central protagonist Kieran Walker, is a zombie teenager reintegrating back into the community.

In the wake of Warm Bodies, there is a fair amount of criticism toward this recent, wholesome approach to the un-dead. In the Flesh may not please die-hard zombie fanatics and attract similar criticism; however, I personally found it a positively interesting approach and thoroughly enjoyed the first episode. It was a well-balanced hybrid of drama, horror and comedy with nudges to generic traditions, ticking all the boxes - I can't wait to watch the next two installments.

Kieran Walker is a Partially Deceased Syndrome (PDS) sufferer, in the latter stages of rehabilitation. After daily medication (to prevent turning 'rabid'), group therapy sessions and progress meetings with a doctor, he is safe to return home to the Norfolk village of Roarton. Here, we are treated to various dystopic shots of barren landscape, derelict buildings and "missing" posters, all reminiscent of the abandoned London sequences in 28 Days Later. These are nice subtle signifiers of the tragedy that ensued post-zombie apocalypse, the causes of which remain undiscovered. In Roarton, we are introduced to Kieran's mum, dad and angsty sister, Jem. She belongs to the Human Volunteer Force (HVF), a group of self-appointed soldiers who protect the community, exterminating all "rotters". Despite government induced protection laws on the PDS sufferers, the HVF are adamant that "Rotters are rotters, drugs or no drugs" and will continue to protect Roarton by any means. This PDS/HVF binary provides the episode with its emotional tension (one that will no doubt cover the entire series) – who should Jem side with, her PDS suffering brother or the totalitarian HVF in which she is respected?

Her loyalties are tested in one of the most chilling sequences of this episode. The HVF get word of a PDS sufferer living in the neighbourhood so they soon grab their weapons, ready to exterminate. Believing it to be her brother, Jem decides to warn her family so they can hide Kieran and prepare for an attack. However, the HVF instead visit an elderly neighbour, Maggie. In a moment of unforgiving brutality, Maggie is dragged into the middle of the road. After a brief toy with her emotions, she is shot in the head. It is a tough sequence and proof that the HVF are not really the heroes of Roarton after all. Also, it's another shining example of how zombies are brilliant vehicles to highlight the horrors of humanity.

As I have already mentioned, some may dislike this addition to the zombie canon. It is a large step away from the soulless flesh eaters we are used to seeing. However for me, it is a welcome take on the genre. The PDS sufferers are handled in a clever and effective manner; with creative nods to zombie traditions. Vacant eyes and gormless shuffling feature throughout, paying homage to previous zombie creations. There are also one or two nice gory moments to provide some horror.

The narrative trope of rehab is also a welcomed development. Group therapy, campaign posters (see below) and community nurses for the PDS sufferers are well integrated into the plot. Side note - it is oddly entertaining to see a would-be horde queue in an orderly fashion, waiting to see a doctor. It is the small details that make all the difference.

On a final note, Luke Newberry as Kieran Walker is absolutely brilliant. His performance is incredibly emotive and I can't wait to see how his character develops over the next two episodes.

The Walking Dead: Welcome to the Tombs (2013) Season 3, Episode 16

Anti-Climax

[5/10 · 14 May 2013]

Last night's Season 3 finale saw the show reach a record breaking 12.4 million views, proof that this zombie survival drama is captivating audiences with its high tension, suspense and emotive discourse. For that we have Glen Mazzara to thank, taking the reins after Frank Darabont's departure and masterfully building up this civil war between The Governor, Woodbury, Rick and the prison. This final installment of Season 3 was the conclusion of it all, as Rick and the gang defended the prison from The Governor and his relentless brutality.

Akin to the last few episodes, The Governor stole the show this week. From the opening sequence in which we are treated to a point-of-view close up whilst getting beaten, The Governor has gone into full villainy mode. Finally, I say, as that seems to have been restrained for quite some time. His attack on the prison didn't go as planned, despite the excessive use of heavy artillery. Rick, Maggie, Glen and co. took a tactical approach which ultimately succeeded in driving the Woodbury army out. For how long is another question and one that unfortunately remains unanswered. The Governor was not happy at Woodbury's failure, nor was he afraid to show it, as he brutally gunned down the majority of his army in a massacre fueled by rage.

His most sadistic action, however, was pitting Milton against Andrea. At first, The Governor forced Milton to kill Andrea, handing him a knife. In trying to outsmart The Governor, Milton attempted to stab him instead but inevitably failed, winding up getting stabbed several times himself. With that, The Governor locked him in the same room as Andrea, who is still tied to the torture chair. He left the room stating, "in this life now, you kill or you die, or you die and you kill" – a befitting statement that set up the most harrowing sequence that comprised the episode. It was a suspense-fueled race of survival – will Andrea escape before Milton awakes? Or will Milton arise first and end up feasting on Andrea's flesh in his new zombified state? The sequence was brilliantly shot, showcasing the shows ever-present cinematographic talent. Extreme close-ups and confined framing was used, emblematic of the sense of entrapment. The close-up-of-the-dead-hand-that-begins-to-move shot (below) was also routinely implemented. Whilst somewhat cliché, you can't argue it is down right effective. The build up to inevitable death was also a great opportunity for Andrea to share her side of the story, aka the reasons why she was so indecisive and unlikable this season. To put it simply, she didn't want to kill anyone. She had the chance but decided against it, hoping to resolve issues through other means. Okay Andrea, we forgive you. As do Rick, Michonne and Daryl when they eventually get to her at Woodbury. Only it was too late, Milton had been killed, but Andrea had also been successfully bitten. Queue the big surprise death of this episode and an emotional goodbye.

This week was also an important reflection on Carl. So far throughout the series he seemed to be turning into a relatively bad-ass teen, taking to the zombie apocalypse like a duck to water. However, it would be wrong for the shows writers to neglect the trauma that he has in fact been through – his dad in a coma, the death of Sophia, oh and the fact that he had to shoot his mum. Now the true effects of this are beginning to show. He opens fire on a surrendering teen, harshly criticises his father for all the wrong decisions he has made and watches, unimpressed, as Rick returns to the prison at the end of the episode with a school bus full of ex-Woodbury citizens, joining the prison community. It is almost fair to say that Carl appears to be on the same (socio)path as Shane or The Governor, an interesting character development that will hopefully be explored in the next season.

For me, The Governor and Milton/Andrea showdown was this episode's saving grace, in addition to its ever-brilliant cinematography. Other than that I can't help but feel that after last week's stellar episode, Welcome to the Tombs was a relatively anti-climactic conclusion to what has been, in my opinion, the best season yet.

Top walker kill: delightfully gory and inventive walker kills weren't really featured in this episode. Although I have to say, it was oddly refreshing to see a bunch of them gunned down via heavy artillery. Makes a change from a samurai sword at the very least.

Game of Thrones: Valar Dohaeris (2013) Season 3, Episode 1

Impressive Return

[14 May 2013]

I believe it is not too bold a statement to say that Game of Thrones is one of the best programmes to have graced our television screens. Power, greed, violence, sex, incest, fantasy – you name it, the show has it and so wonderfully put together thanks to the masterful craftwork of David Benioff and D. B. Weiss. For the past two series watching each episode was a weekly event, an hour of pure captivation down to the shows sheer epic-ness. Tonight was no exception, as the premiere episode of Season 3 reminded us of just how brilliant it is and how much we have actually missed it.

If, like me, you haven't had time to re-watch Seasons 1 and 2, it may take a while for past events to come together. Thankfully, however, we join the first episode where Season 2 ended, the aftermath of the Battle of Blackwater, Jon Snow's integration into the Wildlings and as Tywin Lannister so helpfully summarises, there are "seven kingdoms to look after, three of which are in rebellion".

In a pre-credit sequence we join the surviving Nights Watch men after an attack from the White Walkers. They declare their loyalty to protecting the seven kingdoms and vow to return to the wall, to warn of the dangers approaching with winter's arrival. After being captured by the Wildlings, Jon Snow is taken to their community (giants and all) and speaks to Mance Rayder, their king. After a startling discovery at the wall in which Craster fed a baby to a White Walker, Jon pledges his loyalty to the Wildlings, wishing to "fight for the right side". Queue title sequence and Ramin Djawadi's instantly recognisable score. We're back.

King's Landing is severely affected after the war. First on a literal level, as surrounding scenery is masked with development and construction, whilst bodies (victim of wildfire) wash up on shore. Second on an emotional and personal level. Joffrey Baratheon is hated more than ever (although perhaps soon to be salvaged thanks to Margaery Tyrell's charitable work) and Tyrion, despite his grand efforts in the war, remains no good to bear the Lannister name. In a wonderfully written and heartbreaking exchange, Tywin Lannister makes this known via discourse of hatred, embarrassment and ridicule. He effectively declares Tyrion to be the bottom rung of the Lannister family and expresses un- paternal wishes. It's to Charles Dance and Peter Dinklage's credit that this scene is so effective. Dance's slurry of venom mixed with Dinklage's pained expressions is a truly captivating moment. Boy how I have missed their presence

Meanwhile, we join Daenerys Targaryen and her dragons at sea, on her mission to build an army. She travels to the city of Astapor to buy an army of trained slave soldiers, known as the 'Unsullied'. So brutal are they, they've killed babies and show no grimace at getting their nipples chopped off. Their stone stature was not as impressive however, as the subtle comedic translated exchange between Daenerys and the army's trainer. Both characters jibe at one another regarding their morals, or lack there of, referring to a recurring theme in Game of Thrones – how low will people stoop resultant from their lust for power?

Whilst in Astapor, an attempted assassination of Daenerys by the warlocks of Qarth fails, and she is saved by Barristan Selmy, the former commander to her father, who pledges his loyalty.

Elsewhere in the episode, we return to Davos, reeling with injuries from the wildfire explosion and mourning the death of his son. He returns to Dragonstone to speak to Stannis Baratheon, only to be locked up after his attack on Melisandre, who appears to have a dark hold over Stannis. Robb Stark continues to travel with his army, wishing to fight the Lannisters. Still angry at his mother for releasing Jamie Lannister (for the safety of Arya and Sana), he expresses his wishes for her to remain locked up. Each of these character tropes remain out of the spotlight this episode, however, leaving depth and focus toward the aforementioned developments of Daenerys and the Lannisters. It is a wise move for this season's opening, as we're taken to the heart of the action and emotion for the time being. As always with Game of Thrones, some story arcs take a while to get going but I have no doubt that it will all be developed brilliantly in due time.

It is worth mentioning the noticeable improvement to the look of the show. To me it felt more vivid, brighter and beautiful. Whilst the majority of additions were CGI, long shots from different locations nevertheless showcased the developments of scenery on a grander scale than seen previously. Game of Thrones is definitely upping its, er... game.

A most impressive return - welcome back Game of Thrones. I've never been so excited for winter.

Hannibal: Apéritif (2013) Season 1, Episode 1

Deliciously Entertaining

[9/10 · 14 May 2013]

Thursday saw the premiere episode of NBC's new series, Hannibal. Directed by Bryan Fuller, based on the novels by Thomas Harris and following in the footsteps of filmic adaptations such as Manhunter and The Silence of the Lambs, we are now treated to a televisual adaptation. A prequel, one in which we see the delights of Dr. Hannibal Lecter before his trip to Baltimore State Hospital for the Criminally Insane. We see him as a psychiatrist (... with a very nice office), a 'friend' to Will Graham (a relationship that inevitably turns sour) and we see him eat... a lot. I will tell you now, it is nice to have such a worryingly charming cannibalistic psychopath back on our screens.

The first episode begins straight in the middle of a crime scene, introducing us to Will Graham (Hugh Dancy), an FBI criminal profiler. A man whom, we instantly become aware, has a mental ability to remove himself from the crime scene and into the shoes of the killer. This dark transition of empathy frequently haunts Will (symptoms include a profuse amount of sweating) and is no doubt responsible for his socially awkward sensibility. Unfortunately or not for him, it also means he is highly sought after in order to aid a new FBI investigation, one in which eight girls have gone missing. Will is recruited by Special Agent Jack Crawford (Laurence Fishburne) in the hope that his special skills will help solve the case. His struggle to create a profile for the suspected "sensitive psychopath" causes Special Agent Crawford to hire forensic psychiatrist Dr. Hannibal Lecter (Mads Mikkelsen). As the episode develops, Dr. Lecter's interest in the case and Will becomes increasingly evident, so too does his penchant for eating human organs. Lungs anyone?

The first thing to say about this episode, and hopefully the rest of the series, is how wonderfully stylistic it is. In particular, the cinematography during Will's frequent transgressions into psychopathic territory is a wonderful platform to showcase technical flair and gory imagery. It immerses us deep into the dark realms of human psychosis, consistently effective with sequences short and intermittent.

It is also great to see that there is no hanging around plot-wise. We have skipped the starter and headed straight for the main course. No time is taken in hiding the fact that Dr. Lecter is a cannibalistic killer. Conversely, it's flaunted. Preparing human lungs then frying them in a pan? You cannot get more obvious than that. Dr. Lecter and Will's relationship is also swiftly interjected. A wonderful sequence in which both converse over breakfast (including questionable sausage) is a nice taster to their relationship dynamic, one of psychological evaluation and latent commonalities. I look forward to its progression.

Hugh Dancy performs well as Will, cleverly contrasting awkward social outcast and empathetic killer. Mads Mikkelsen lives up to expectations as Dr. Lecter, providing that sheer magnetism required. Laurence Fishburne is well... Laurence Fishburne. Always a joy to watch.

All in all a thoroughly enjoyable first episode, teasing my appetite for what will hopefully be deliciously thrilling entertainment.

In the Flesh: Episode 2 (2013) Season 1, Episode 2

Another Stellar Episode

[9/10 · 14 May 2013]

Scares were scarce this week – the 'rabid rotters' weren't really rabid and only a short sequence of zombie uprisings featured (albeit, very nicely done). Instead drama took precedence, as overt themes of guilt, denial and acceptance became present when new characters were brought into the village of Roarton.

Continuing from last week's episode, Kieran remains trapped at home. Forced to spend time with his father, pretend –eat at the dinner table and continuously receive the cold shoulder from his sister, it is no surprise that he grasps the opportunity to leave the house when he is left home alone. He decides to embark on a day trip and visit the graveyard in which he was buried – hinting to his death before the zombie apocalypse even occurred. Whilst there, he encounters Amy, a fellow PDS sufferer. This character, at first quite annoying, is actually a refreshing presence. Her positive attitude toward this new post-death identity – choosing to go 'au naturel' by ignoring her contact lenses and cover up – creates a more uplifting tone to the episode. Amy is also an effective narrative devise. Whilst getting to know one another better, it is through her questioning that we discover Kieran had in fact killed himself pre-zombification.

Amy and Kieran go to the fairground to 'live' a little and the theme of guilt really plays out here. Kieran is obviously still struggling with his previous flesh-eating ways, manifested through the constant and eerie re-appearance of his last victim. Conversely, Amy feels no guilt and justifies their ravenous activities as 'survival mode'. Both characters hash these feelings out as they move from ride to ride. It is a clever way of breezing through what would be heavy emotional turmoil, perhaps developed further if there were more than three episodes to play with.

Elsewhere in Roarton, more time is spent on developing HVF officer Bill and his family. Last week Bill and his wife discovered that their son Rick, whom they thought had died whilst serving for the army in Afghanistan, was alive... well, partially. He had reached the end of his PDS rehabilitation and was ready to return home. Upon his arrival, both Bill and Rick appear in denial, refusing to address the elephant (or should we say PDS) in the room. They take part in father-son bonding activities, eventually winding up at the British Legion (the local pub for HVF officers) for a few drinks. This pub acts as a particularly effective setting in which the metaphorical implications of PDS can be played out. Be it race, religion or disability, any form of Otherness could be reintegrated here.

Throughout the episode there is an unspoken link between Kieran and Rick. Subtle hints in Kierans room such as letters and portrait paintings allude toward a possible romance that existed pre-uprising. Rick's casual inquiries to his father regarding the well-being of Kieran and his family are also suggestive of the level of care felt for one another. Oh, and there is the small matter that Kieran killed himself when Rick left for the army. Both finally reunite in the Legion pub in an incredibly subdued manner, but their attraction and elation at seeing one another is abundantly clear. Their relationship was obviously a secret, most likely due to Bill's expectations of having a macho, gun- toting lothario for a son.

Their moment of happiness is soon called to a halt as reports draw in of a 'rabid rotter' wandering in the woods. The HVF grab their weapons and make haste, Rick and Kieran also follow. It is in the woods that the theme of acceptance really comes to the forefront. After an effective and emotional heart-to-heart between Rick and Kieran (wonderfully written and performed in such an understated and effective manner), both characters go searching for the reported 'rotters'. They are eventually found, but 'rabid' is most certainly not the word that would describe them. They are docile and caring for one another...even if they are eating flesh at the same time. It is a short moment of tranquil, which ultimately ends when Rick pulls a gun on them. Kieran stands in the way, effectively declaring that Rick cannot kill one of his own. Rick is most definitely in denial, unaccepting of his new identity and still believing himself as a soldier, not a PDS sufferer. Kieran's protest pays off however, as he gets through to Rick. The not-so-rabid rotters are saved, so to speak, and set on the path of rehabilitation.

The lack of scares and increase in drama this week was by no means a negative quality. The character development is brilliantly dealt with considering how little time the show's creators have. The almost harmless nature that the 'rabid rotters' had this episode was an interesting and provocative twist on traditional genre formula, cleverly bringing into light further questions regarding the morality of the HVF. Most of all, the romance between Kieran and Rick is a beautiful addition to the series, adding further emotional depth to the shows narrative – what will be easier for Bill to accept? Rick's PDS? or the romantic relationship between him and Kieran? It will be interesting to see how this all comes together in the last episode. After tonight's developments however, it is a shame it has to end so soon.

In the Flesh: Episode 3 (2013) Season 1, Episode 3

More In the Flesh Please

[9/10 · 14 May 2013]

Last night saw the final installment of BBC Three's brilliant zombie- drama In the Flesh. In this emotional conclusion, the theme of confrontation rings throughout as characters confront their past and true feelings toward one another.

Following on from last week's events in the forest, Kieran journeys home through Roarton countryside eventually reaching a supermarket, the place in which he attacked his last victim, Lisa. This memory has repeated throughout the series as recurring manifestations of Kieran's guilt. In this episode we are treated to it in its entirety. Whilst Kieran is feasting on Lisa's brains, Jem appears shooting any zombified shopper in her way. She cannot, however, bring it upon herself to pull the trigger on her own brother. The full recount of this memory urges Kieran to confront Jem when he returns home and both have a wonderfully written heart-to-heart. Jem reveals she told the parents of Lisa she ran out of bullets and Kieran confesses his utmost guilt and hatred towards what he had done. Both decide to confront the past and go to Lisa's parents to confess the truth. This emotional journey resolutely brings both characters closer together and it is nice to finally see a vulnerable, 'little sister' side to Jem, contrasting her tough-girl bravado that has reigned throughout.

On their way back from Lisa's parents, in which they showed unexpected gratefulness to Jem and Kierans confessional, Kieran sees Amy waiting at the train station with packed bags. Amy has decided to leave Roarton as she believes PDS sufferers will never be accepted there. This follows an unfriendly encounter with an HVF officer, whom forces cover-up upon Amy, declaring her au-naturel attitude a "slap in the face to the Roarton community". She invites Kieran to go with her, but he decides to stay in an attempt to solve things with Rick. It is a wonderfully written, comedic ("Optimist?! Amy I killed myself"), heart-warming and genuine goodbye. A somewhat enjoyable, bitter-sweet moment lulling us viewers into a false sense of optimism before the drama between Bill and Rick unfolds.

Following Rick's inability to shoot the 'rabid rotters' in the woods, Bill is ashamed of his son. He believes Kieran to be a bad influence and in a totalitarian HVF manner, encourages Rick to kill him. The anger and frustration is so pent up in Bill, surmounted with his continual ignorance of Rick's PDS condition, it is only a matter of time before something tragic occurs. Although, the elephant in the room is confronted, as Rick takes off his make-up and confesses to his father; he will not kill Kieran, his best friend, one of his own.

At first Bill appears understanding and hugs his son, creating a suspicious moment of relief and happiness for us viewers. Phew – everything will turn out fine. Kieran and Rick can now embark on a wonderful relationship with one another right? Wrong. It is not long until Bill retrieves Rick's 'shrine' from the loft and when asked by his wife the whereabouts of their son, replies, "Rick? We haven't seen him for five years". Bill, you bastard. Not only did he murder his own son, but he placed the body outside Kieran's house. Nice. With that sort of behaviour, it is only fitting that Bill eventually gets killed by receiving a few shot-gun shells to the chest. It's a welcomed beacon of retribution amidst the turmoil and heart-break, felt by Kieran upon his discovery of Rick's body. This moment is so wonderfully acted by Luke Newberry, a tear to the eye is unavoidable.

The loss of Rick ultimately leads to a sense of de-ja-vu, Kieran has lost his loved one again. Whilst mourning in their cave hang-out, walls adorned with their adoration for one another, he exclaims to his mum "It's becoming just like before and I don't know how to change it". She responds, "...you live. You don't leave, you stay". This time, Kieran should confront what is happening instead of escaping. It is a chance for him and his family to start over. This touching moment of discourse between Kieran and his mum is another well written and beautifully directed sequence. It is a somewhat resolute ending to all three episodes as, in a way, we have come full circle, only this time a very different path is to be taken by these captivating characters. The episode ends on a bleak yet optimistic paradox at Rick's funeral. Yes, Kieran is burying his loved one but at least audiences are reassured of his future.

Other highlights this week included an emotional sequence in which both Rick and Kieran's mums confront their true feelings of fear and anger toward their PDS suffering sons. The score was also brilliantly handled, orchestral tones of apathy and devastation really underlined the emotional impact of events on screen. Not melodramatic but cleverly understated.

Overall, In the Flesh has been a fantastic drama and a welcomed addition to the zombie genre. It has showcased some new British talent to be very excited about. Particularly Dominic Mitchell, who so cleverly brought every element of the series together by tackling incredibly deep and emotional content in such a confident manner. Also doing so, in a very short space of time. This brings me on to my only complaint about the show - three episodes!? Please BBC, take us back to the perils of Roarton soon.

The Cabin in the Woods (2011)

The Cabin in the Woods: Homage to Horror

[8/10 · 14 May 2013]

I have a confession – last night was the first time I saw Drew Goddard and Joss Whedon's The Cabin in the Woods. Believe me, I hang my head in shame whilst writing this admittance. Now, however, I can sit bolt upright with a big grin on my face after experiencing such a brilliant film. I enjoyed it so much in fact, that I feel compelled to write this somewhat love letter to a film that is well... a love letter in itself, a declaration of adoration for the horror genre.

For those of you who have not seen it (I won't lambast you as I don't really have a leg to stand on here) the film follows the basic premise of five teens taking a vacation to a cabin... in the woods (funnily enough). Whilst there they manage to unearth some deadly goings on and all hell ensues, as each teen is ultimately killed off one by one. Pretty formulaic no? Well herein lies the brilliance in the film – Goddard and Whedon not only recognise this traditional horror formula but wave it in our faces and play with it for the entirety of the film . From the beginning we are introduced to Gary Sitterson and Steve Hadley (wonderfully played by Richard Jenkins and Bradley Whitford), who are technicians or 'gamemasters' manning a soulless control room. They (to a certain extent) control the fate of said teens, moulding them into stereotypes (slut, jock, joker, nerd and virgin) and induce pheromones that ultimately make them hornier and stupider (heaven forbid they actually stick together in a crisis). Basically every horror cliché is knowingly implemented in order to cause the inevitable demise of our beloved teenage protagonists (or so we are led to think). Now, I know what you're thinking and yes – Wes Craven did do this with Scream in 1996. However, his postmodern take was primarily on the slasher sub- genre. Goddard and Whedon cover it all.

The death of each teen is caused by the zombified Buckner family, an undead crew the teens unknowingly raised themselves. Whilst I love a bit of zombie action as much as the next person, it albeit felt anti- climactic. That is until two surviving teens manage to break into the control facility and let loose every horror creation you could ever think of via a "system purge". An all matter of carnage ensues creating the most entertaining sequence of the film. Fair enough, the ending of the film may spoil the whole experience for some but for me it didn't – I was still reeling with enjoyment over a Merman eating Hadley. In fact, I will still reeling with enjoyment over the preceeding 80 minutes or so.

As a film I believe it was totally miss-marketed and therefore underrated. It's not your typical horror film as most punters believed, nor is it a "game-changer". It's an intellectual, postmodern homage intertwining every horror cliché and monster into the narrative. That, and it's all spectacularly delivered via brilliant script and enjoyable performances (particularly by Jenkins and Whitford). There is no literal breaking of the "fourth wall" but Goddard and Whedon know we are there and are having fun with us. Well, trying to anyway. For those unfamiliar with the horror genre, the subtext and intertextual references will be totally lost on them. The influx of all things monstrous at the end will no doubt appear silly and definitely not terrifying (although that in itself is entirely subjective. For instance, if you have a fear of clowns or extremely toothy sugar plum fairies, odds are you will get a bit frightened). To horror aficionado's, however, it's a celebration, a love letter, a joyous game of who's-who in the horror genre as we revel in their destruction.

The film is also wonderfully comical. The chemistry and one-liners from Hadley and Sitterson shine throughout and a scene transition within which the "final girl" reaches her apparent demise, but in the background whilst control room workers celebrate, is the epitome of sadistic comedy.

As much as it is a love letter to the horror genre, it in some ways, is also a critique. The film highlights generic issues of senseless nudity via a scene in which men eagerly await a pair of boobs ("Does it really matter if we see...?" "Got to keep the customer satisfied..."). The five teens are also caricatures of the contemporary vacuous types that go hand in hand with the genre. Goddard and Whedon, furthermore, denounce the genres recent devolution in to torture porn territory by not including it whatsoever.

Equally, there are a few criticisms toward the film itself. The use of CGI detracts from the experience and appears noticeably out of place. Also, as I have already touched upon, the ending was perhaps a step too far. The sadist in me would have preferred an even more nihilistic approach, with the film ending at Dana (our surviving 'virgin') shooting Marty (the 'joker'). Critics have expressed a disliking toward the films self-referential nature and lack of scares. However, I disagree. I may be biased as a horror fanatic, but there are enough thrills and spills to entertain everyone. Furthermore a little intelligence and self- reflexivity never hurt anyone... apart from those in the film of course.

I completely understand that some may hate this film, finding it pretentious, silly and not even remotely scary. But hell, in essence it's two grown fan boys writing a love letter to the hyperdiegetic world of horror, and boy... did I enjoy reading it.