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Summer of Blood

November 19, 2014 — Leave a comment

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Ask the average person on the street what an atypical vampire is and they’ll probably go through the usual criteria: Suave; amoral; sexy with a hint of danger and, god help us, they may even say they sparkle. (Yes, I know, Twilight was six years ago. No, I will not get over it) Well, allow Summer of Blood to shatter a few people’s preconceived notions.

Erik, played by Onur Tukel (Richard’s Wedding), is the shallowest of all shallow human beings living in New York. He’s not mean or malicious, but he’s not someone you’d want to get trapped in a lift with; taking to inane monologues like the rest of us take to breathing. He’s a member of generation X, trying to slum it with the millennials. He celebrates his Turkish heritage by using it as an excuse for why he can’t do things, like cooking once in a while for his girlfriend.

Somewhat oversexed, he freely admits that his idea of discipline is managing to not watch porn for three weeks. Such is his ineptness that when he’s faced with someone bleeding profusely from the throat at the start of the film, he asks them to use sign language to tell him what kind of assistance they require. This is not a man who deserves the adequate job he’s got, let alone the gift of immortality. However, that gift is indeed given when a chance meeting with a vampire leads to Erik transforming into nosferatu. An exceedingly hairier version anyway!

Read more at: http://horrornews.net/90186/film-review-summer-blood/#ixzz3JTYZK1cF

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.

The Babadook (2014)

November 19, 2014 — Leave a comment

The Babadook is masterpiece. There, we said it. ‘Pull-quote baiting hyperbole,’ we here you cry, but we honestly mean it.

Directed and written by Jennifer Kent, The Bababdook focuses on a widowed mother, Amelia (Essie Davis), and her young son Samuel (Noah Wiseman). Sam is a troubled soul who is need of constant attention from Amelia. He fears the monsters who live under his bed and closet, constructing gadgets to ward off the evil creatures. To Amelia and us, they are simply products of an overactive imagination. Amelia, meanwhile, struggles from horrifically losing her husband in a car accident. She daydreams through life, moving from home to work to home again. When Sam is removed from his school, Amelia struggles to cope with his demands and in an effort to appease him one night, she allows him to choose a book for bedtime. He chooses The Babadook, a pop-up book that warns of a creature that stalks the night. Once you know of its existence, it refuses to go away. And from there things, as to be expected, go awry.

Read the rest of the review at: https://earlybirdfilm.wordpress.com/2014/11/10/the-babadook-2014/

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.

When it was announced that Michael Bay was involved in the latest big screen adaptation of Teenage Mutant Ninja Turtles, the wailing and gnashing of teeth of a fanbase comprised of thirty year olds, who should know better, could be heard from space. But was they’re primordial rage before they picked the kids up from school justified?

Well, not really.

Let’s us be honest, Teenage Mutant Ninja Turtles is far from perfect, but it is an extremely entertaining – whisper it – kids film. Leonardo, Donatello, Raphael and Michelangelo don’t have the gritty realism some would expect or even demand from reboot. After all, we’re in the age of grit aren’t we? A time where even Superman is not allowed to smile. However, whilst the heroes in a half-shell certainly kick arse, they are also a bit silly; getting into childish fights with each other and being scalded by Splinter. Even when the film looks like it’s about to veer off into dark territory, it pulls a joke from its sleeve that leaves a large grin on your face and reminds you of the days when blockbusters weren’t always just about appealing to the fanboys. It’s everything you remember from Saturday mornings.

Read the rest of the review at: https://earlybirdfilm.wordpress.com/2014/10/16/teenage-mutant-ninja-turtles-2014/

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.

And so it ends. Series 8 has possibly been one of the more satisfying series of Doctor Who under Moffat’s reign. Stripped of its recent dependence on timey wimey nonsense, the show has felt reinvigorated. It’s been suggested that Moffat doesn’t listen to the fans, and nor should he, but it couldn’t have escaped anyone’s attention that this series has had more in common with the first four than anything else.

In Dark Water/Death in Heaven, several story arcs came to an end as an old enemy returned to cause havoc upon planet earth with a little help of the Cybermen. It was big, it was brash, but it also managed to be highly emotional in way that Doctor Who hasn’t been for a long time. These two episodes have seen Moffat doing what he likes to do best: referencing the past (a lot) and messing around with everyone who has access to the internet.

Danny Pink joins the ranks of Rory and Mickey as people get caught in the crossfire when the Doctor and his companion are in town. Hit by a car, facing your demons in a fake heaven and being cyber converted is not the first thing one would ask for in the event of their death. But here he was, defiant in the end. His final scenes with Clara were heartbreaking. When the Doctor appeared on the scene, his anger was well and truly justified. Through no fault of his own Danny was about to pay the ultimate sacrifice. And as he proved The Doctor’s skepticism of soldiers was unwarranted, my heart broke further. Danny probably deserved more in life. He was a tortured man, who didn’t need to prove anything, but found himself having to do so.

And poor Clara. There was no glory in death for her. Remember the bubbly wide-eyed innocent we met in Series 7? It’s fair to say the Doctor has chewed her up and spat her out. Handing her a lottery ticket with next week’s numbers on it, ala the Tenth, is just not going to cut it this time. She tried to do by right the Doctor, by Danny and more importantly by herself. She was clever and resourceful. Look how she handled the cyber men by pretending to be the Doctor (further acknowledgement that Moffatt sees a future for a female Doctor): she deserved better. And she knew this too. As they both lied to each other in that final scene, her relationship with the Doctor is like that metaphorical ball of paper. It can be flattened out, but you’re still going to see the marks.

UNIT returned to boss the Doctor around and make him the President on Earth. A storyline that didn’t really go anywhere, but at least gave us an excuse to see? Kate Lethbridge-Stewart and Osgood again. There are accusations that Moffat can only write one type of female character, which I find to be completely unfounded. Moffat can’t write ‘sexy’ femme fatales very well. See Irene Adler and Melody Pond in Let’s Kill Hitler. However, in this series we had four distinct female characters. Four? Yep four. And if you don’t know what I’m talking about, stop reading now.

Missy was in fact the Master!

Those who brush away the reference to the Corsair’s gender-swapping antics in season 7 are going to struggle now. It’s official. Time Lords can and will change gender. Maybe one day we will have a female Doctor too and I look forward to it. I will be there cheering on the change, as well as warming myself by the heat of the anger from Twitter. Did the dynamic change with Michelle Gomez in the role? For me, not really. Once I quickly accepted her preference of pronouns, I was fully on board. When the Master first resurfaced under RTD’s reign, he was a coward, having hidden himself away from the Time War. He forced his regeneration to put him on par with the Tenth’s youthful appearance. No goatees here, my good man. Except something wasn’t right. With youth cam a little bit of madness. He was erratic, sexual and not shy of abusing his wife. Even in defeat, he had to get the upper hand on the Doctor by refusing to regenerate. And then, after some Harry Potter BS, he was back as blonde jacked-up super villain. The drumming that drove him mad, revealed to be the work of Rassilon.

The last appearance of the Simm-Master saw him fighting against Rassilon and weirdly defending the Doctor. And where was the Doctor? Well, he got a poorly tummy from radiation sickness and went off to cry about Rose. So, it’s understandable that the Master might have been a bit pissed to have been left in the lurch. And so here she is, having orchestrated the meeting of Clara and the Doctor simply to prove a point. That The Doctor is basically The Master. Two sides of the same coin. And to prove it, she gave him control of her cyber-army. As she pointed out several times, she’s bananas.

Gomez’s portrayal of the Master was superb. Channeling a touch of Simm as well Sue White from Green Wing, she was a whirlwind of villainy and 80s pop songs. It’s good to know that no matter what happens to the Master, they love their Earth pop culture. Then there was that kiss. It could be argued that Moffat was injecting some heteronormative behavior in the role, but another way to look at it is that the Master is bloody enjoying the fact that The Doctor doesn’t recognize her. And whereas the Eleventh Doctor might have been up for the snog, Twelvy clearly wasn’t. If you wanted further proof that Moffat has put the pretty-boy Doctor to bed then that scene was it.

Sadly, we couldn’t enjoy her company for too long before she had back against the wall and the Doctor being called upon by Clara to take her out. Not just in revenge for Danny but for everyone that has died at the hands of the Master because the Doctor always lets them get away. Would the Doctor have gone ahead with it? Who knows because someone did it for him. Brigadier Lethbridge-Stewart did the job for him. Now you may not have liked how he was brought back, but I certainly think it was in character. If Danny Pink was going to override his cyber-programming to find Clara, then the Brig was not going to stand away and be told what to do by the Master. And like Danny’s sacrifice, it proved once again that the Doctor needs to ease up on his armed forces bashing. His solitary salute was beautiful.

Then there was the Doctor. Ah Twelvy. You wanted to know if you were a good man and you realized like the rest of us, that we’re capable of being anything at any time and as long as you keep fighting the good fight, you have nothing to fear. Too bad the Master managed to give him the finger one last time by giving fake coordinates to Galliffrey. When the told The Master she had won, he didn’t know the half of it.

And then there was a further tip of the hat to the Davies era, with a credit sting leading into the Christmas special, with Capaldi’s raised eyebrow replacing the Tenth’s triple what.

It’s been a fantastic series and I look forward to revisting it over the next couple of weeks to catch things I may have missed. If Moffat can keep up this momentum for series 9, things can only get better.

I wish I had reams of things to say about this weeks, but unfortunately there was very little there to hook me. Bugger.

This was the chill out room of episodes. Not even the threat of the world being set ablaze by solar flares could stop you from thinking, ‘Everything is going to be okay.’ Which is a bit of a problem when you’re trying to create tension, isn’t it?

As I sit here typing, I’m struggling to think of anything to say aside from ‘fine.’ The performances were fine, the script was fine, the denouement was fine. It was all just… fine. At the time, I was caught up in it all. London had succumbed to tree squatters. There were wolves. There was a tiger. Nelson’s Column nearly crushed some kids. But in the cold light of day, I’m thinking there wasn’t much else to it. It wasn’t a bad episode of Doctor Who. It was just… and episode of Doctor Who. Something I imagine the Fifth Doctor getting involved in. ‘Oh look, Tegan. Trees. Is it nap time yet?’

A large part of why I stuck around was because of Sheree Folkson’s direction which was magical. Often positioning the camera to look up to the Doctor, we were reminded how daunting he must be to children and how much he is just like one of them.

In the Forest of the Night was very much like getting trapped in a forest of wonder – bear with me – in that whilst it was fun to get lost in and appreciate everything that was going on around me, once I’m was back in the real world, I’m not sure I want to go back.

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.

It feels like forever since we had a Doctor-Lite in Doctor Who. Flicking through my memories, the highly emotional Turn Left – aka That One Where Rose Talked with a Lisp – was our last one. And whilst Twelvy had a considerably larger presence on-screen this week than during Tenth’s time, you would be a fool, and potentially a dirty liar, to suggest that Flatline was anything but Clara’s episode.

Thrown off course to the far reaches of Bristol, The Doctor is held prisoner in his rapidly shrinking TARDIS. Clara, having vacated earlier to scout for clues, is left in charge, armed with psychic paper and the screwdriver. Oh, and the Doctor’s gadgetry allowing him to see and hear everything she does.

Unearthing a plot by two-dimensional beings who may or may not be peaceful, Clara planted herself firmly in the Doctor’s shoes, much to his chagrin. Ostensibly, this was the episode’s running gag; the much grumpier and pompous Doctor refusing to identify anyone outside of himself as having his portent personality. But there was something more there. Clara, who I love more with each new episode, ticked all the boxes in a list of timelord prerequisites. She was quick-witted, fearless and, tellingly, she was willing to hide the truth from those around her for the greater good. Something she’d had practice with in the episode before.

Once the monsters were put to bed – Peter Capaldi finally being given a Doctor speech on par with the Eleventh’s ‘Come and have a go if you think you’re hard enough’ at the Pandorica – and the regular humans went back to their regular homes to drink their regular cups of tea, Clara, the impossible girl, sought the Doctor’s approval. And he struggled.

There’s been some comments about Moffat’s agenda and wagging a finger at feminism. That the Doctor’s lack of acknowledgement was a tip of the fedora to the male fans in the crowd.

‘Hey! She was good, but she’s no Doctor! Right guys?! Pwoah! Misogyny, fedoras, Sherlock!’ is what I imagine some people thought the Moff was saying as he packed Jamie Mathieson off to write his script. But that’s not the case. The Doctor didn’t struggle because of pomposity and bluff and glass ceilings, he struggled because of what he saw.

Since the resurrection of Doctor Who, Davies and Moffat have stoked the fires on the danger the Doctor puts people in. Particularly those he holds dear. Donna acknowledged it in The Runaway Bride and the Eleventh Doctor was given a talking down to by Rory in Vampires of Venice. I’ve mentioned before that I feel the Doctor has been taking stock of his life/lives and uprooted a barrel of angst. With Clara taking control so deftly, The Doctor isn’t worried about being replaced, he’s worried about the legacy he’s leaving behind.

All the way through this series, Clara has been making her own decisions, even when being fought over by two chest thumping alpha-males. That doesn’t mean all those decisions have been wise. Clara is no longer the Impossible Girl: A facsimile of a woman always ready with a cheeky, flirty one liner. She’s now a well-rounded and fallible human being. And these kind of human beings, i.e. the best ones, mess up all the time. She wants to impress her friend, as we have all done from time to time, and she’ll do anything to achieve that. The Doctor’s influence is great, as it has been with all his companions. Maybe this time, he’s taking a step back and truly realizing what he’s done.

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.

At the end last week’s fairly decent – and politically charged depending on how long you stayed on Twitter – episode, Clara had ripped the Doctor a new one, leaving him to shuffle off unsure as to where it all went wrong. So, it came to a surprise to a lot of us, I’m sure, when this week the Doctor was seen stepping out of the TARDIS with… Clara in tow. Had the Moffat-haters begun sharpening their wits ready for a full on attack on the importance of continuity later that evening? Probably. Had continuity been forgotten? Nope.

Clara and The Doctor were calling it quits. Clara had decided to stake her claim in her time, with Danny by her side and a bunch of young minds to inspire. If she had been with the Tenth Doctor, he would have probably beaten the concrete, crying that life was so unfair and wondering where Rose was. The Seventh would have probably said goodbye, and then tricked her into overthrowing a dictatorship. The Third would have sloped off and driven Bessy around in a strop. The Twelth was just awkward. But oh, it was beautiful.

Taking her on board a space-bound recreation of the Orient Express, he struggled to understand what Clara was feeling. Something he’d been doing for some time, but now he’s beginning to see what he’s doing is a problem. Not, that he was going to let Clara realise that. He continued to bluff his way through his emotions, trying to cut her short on any topic to do with her leaving.

And then people started dropping dead, crying they could see a mummy stalking them. That’s always going to rain on your parade. Not that the Doctor was going to jump into the mystery with both feet. No, seemingly having learnt his lesson about dragging Clara into danger, the Doctor slinked off to his bedroom to have a good think and argument with himself. Whilst we’re on the subject, can we please have more of Capaldi’s Fourth Doctor impression, or even just hinting that he’s talking to his past selves. It’s a lovely little quirk and anchors the new to its past without alienating the casual viewer.

Obviously this is Doctor Who, so of course the Doctor made the decision to get involved. As did Clara. As I’ve hinted at in previous reviews, particularly The Caretaker, the monster of the week shenanigans the duo get caught up in aren’t necessarily the A-Story this season. Whilst the Doctor went toe to toe with a Mummy, the real monster in Jamie Mathieson’s superbly written episode was addiction. For the Doctor, it’s the thrill of the chase. When the space-train is revealed to be a lab, the Doctor wastes no time in allowing people to die in order to collate data. There was no ‘I’m sorry. I’m so sorry.’ Just calculated collateral damage, with the help of TV’s Frank Skinner.

Meanwhile, despite her protestations at once again being manipulated by the Doctor, Clara finds that she can’t quite shake the habit of time travel. Discussing her return home with Danny, in actions that echo previous companion Amy, she lies to both to him and the Doctor so she can continue to bounce around time and space. A number of comments on the internet have pointed to The Caretaker as being an episode where a woman’s choices take a backseat to the men in the room. I actually think that was a deliberate choice on the part of the Danny/Clara/Doctor triangle story. Previously Clara was flustered and allowed herself to be caught up in Danny and the Doctor’s pissing contest. Here though, Clara is fully in control of what she wants to do. I don’t think it’s her wisest decision, but for now, she does and who’s the one to take that away from her.

But she’s not the only one lying. After the Doctor tells Clara about their fantastic escape from the Orient Express, she asks him if he’s lying. He jokes that, yes, he was making it up and he left people to die. I’m with Clara. I think he’s lying too. Whilst Missy wasn’t to be seen this week, it is unusual that we didn’t get to see the Doctor being all heroic. At the end of the episode, he may have been smiling, but the days are counting down when something is going to come and bite him on his time lord posterior.

About The Author
My name is John Noonan. I’m a freelance writer that specialises in arts and entertainment. From genre flicks to chick flicks, I love the stuff. So much so, I started a film review blog at earlybirdfilm.wordpress.com. I also contribute to online and hard copy press, including FilmInk magazine.

If you like what you see, I am available for hire. You can contact me via the social media channels above or the form on my home page.