What's Up?
I know many of the people who stumble onto this blog (or come back regularly) are not really interested in foreign current affairs. Despite a very skewed coverage on television - Donald mad, Putin bad, Netanyahu ignored - what goes on in other countries should concern us. However, we're subjected to what we need to believe, even if we can see things that suggest something different.
I try to avoid looking in places that would make my blood boil (I don't do a bad job now, to be fair) because as I've said many times in the past, what we believe and what is true can sometimes be worlds apart. The weird thing is I don't really want to see more news on TV that paints an even grimmer picture of the world, but I get infuriated when our press lingers around 'human interest' or 'good news' stories too long. The real concept of a slow news day isn't how they can fill it, it's how can they avoid showing us the true story...
This isn't a conspiracy theory either. Here's something pretty much everyone knows - Israel are not interested in a ceasefire or getting their hostages back (in one piece), they are ironically committing genocide in Gaza. What we have here is this scenario being played out in the middle east: there are 500 known terrorists holed up in the town of Northampton (population 250,000) and the government in charge decides the best way to rid the world of those terrorists is to bomb the entire town out of existence, while carrying out extensive aggressive and deadly incursions to Kettering, Wellingborough and Corby. The government has also prevented all deliveries of everything into Northampton, they have cut off the power and the water and they have armed patrols roaming the streets picking off residents at will, because they might be terrorist sympathisers. If you need an metaphoric example of what is happening, just imagine any large town or city near you being obliterated because there were a handful of bad people in them. That is what Israel is doing to Gaza, they are wiping it off the face of the earth and every government of note in the western world is telling us that we should be celebrating the 80th anniversary of the end of the war by ignoring the horrors of war; because it's better to fixate on the President of the United States being bonkers or Nigel 'Ubiquitous' Farage or Marks and Spencer getting a data breach.
I mean, we should be worried about the way the country is switching over to being digital dependant with zero alternatives. If you want to make the isolated even more isolationist then carry on cutting off means of communication that isolated communities cannot do without, in the event of a power cut, which are all too common now. Apparently, like the phasing out of 3G, its to better use the bandwidth, which just goes over my head when people try to explain it to me and I wonder if it's deliberately like that? Basically they don't want our stinking analogue shite that still works clogging up their digital network that's as safe as a house built of paper. At times when things all around look a little bleak, surely keeping as many means of communication open for the many millions has an iota of common sense about it? Yet Capitalism wins again. People who have even less to try to live on face having more of that little taken away.
Some of these 'innovators' 'moving the country forward' with 'technology' are also the kind of people who want to get rid of cash. The economy here, in my isolated corner of the UK, would collapse without cash, and the stupid thing? What few accessible banks we have here charge businesses for paying cash in to their accounts! How fucking stupid is that? How to isolate the isolated even more - it's like they don't give a shit... Oh yeah, they don't. How forgetful of me...
Do you know how many power cuts I experienced in the years we were in Northampton before we moved up north? Well, we can both remember one major event we had, and a couple of times the electric clocks had zeroed during the night, meaning the power was off for an indeterminate amount of time. Probably about six. We had six power cuts the first year we lived here! While they are fewer and further between now, localised ones often happen; we're more densely populated than other parts of Galloway, but there are communities in the Highlands and up to Caithness and Sutherland that will still get regular power cuts and at least with old technology without power you could still make a telephone call on an old fashioned phone (which I have, just for that reason). BT's Digital Voice is happening almost the same time as 3G is being switched off, the government should have been staggering this digital expansion over decades rather than in months. We become slaves to electricity and are forced into being dependent on having to have a better mobile device. It's like no one is really on our side, they just tell us they are and we fall for it.
Oh and one final non-sequitur: how sad is it that we live in a country where people will look at a lie and opt to believe it because the explanation of the facts takes too long to read. How fucked are we as a nation when we find the details behind facts just too long to be essential? It's how cognitive bias has become a modern human phenomena centuries after it last had its day in the spotlight.
X Marks the Spot
There are a number of reasons why the X-Men don't really work on the big screen. The first is you need 20 odd years of history and character building and that was never originally achieved and now it isn't possible in the current MCU (Marvel Cinematic Universe). The second is there are far too many characters whose powers are shown by holding a hand to the temple, extending an arm and a flat hand or a mixture of both. You have mutants who are not particularly visual and you have others who are faintly ridiculous. This was first demonstrated in X-Men in 2000 and then again with the soft reboot in 2011, the film we decided to give another watch to. X-Men: First Class takes an [imaginary in the comics] elite team of proto-X-Men, gives them a sort of CIA back story and a flimsy reason for the world hating them. It works on some levels but rough casting (Kevin Bacon as Sebastian Shaw?) and overwrought acting (Jennifer Lawrence in almost every scene) brings those levels down to pretty shonky overall.There is much to dislike about this film from the disjointed narrative to the preachy and rather ridiculous conclusion; but in reality it just makes you realise that for the MCU to become the kind of place where the X-Men exist, it's going to have to start the story early and allow time for mutants and X-Men to develop a space in a shared universe; if, indeed, Disney are serious about bringing the X-Men to the fore after the 2028 Avengers film. This 2011 reboot, set in the early 1960s lacks charm, interesting characters and depth. It's not like it's a bad movie, Matthew Vaughn was probably the best guy for the job, it's just it perfectly shows me (and hopefully others) how the concept doesn't work on the big screen and probably won't anywhere else. This film gets a 6/10 but only just.
The Invited
Back in the spring of 1978, I saw my favourite film of all time for the first time. Since then I have seen the Special Edition, a Director's Cut, even a fan edit mashing all the version together. In total I have seen Close Encounters of the Third Kind at least ten times. I can recite vast swathes of dialogue. I can watch it without subtitles (during the French and Spanish bits) because I know what is being said and here's the strange thing; I haven't seen this movie this century! It might be 30 years since I last watched it (it was released 48 years ago in November and 48 years before it was released the Talkie had barely been invented) and while I remembered it like I saw it yesterday, I saw it tonight with relatively new eyes...It really is a strange film because despite being made in 1977, it is full of hope and peaceful vibes, even if there are some vaguely sinister bits in it. This is a movie about obsession, about strangeness and even charm. Richard Dreyfus plays Roy Neary, who has a close encounter with an alien vessel and falls down a rabbit hole and into a unique madness that he can't understand and his family don't want to. At the same time Melinda Dillon - as Jillian Guiler - is trying to understand why her six year old son, Barry, has been abducted and Francois Truffaut is the French scientist with most of the Americans eating out of his hands - but is he even an expert? The film never really tells you what his 'job' is and he never really expresses any 'expertise.' It is very overwrought in places; it plays to the melodrama at times and breezes over the elements that make us wonder how all this started, why it's happening in the USA or just what EZ4 really is? If I want to be honest, it gets a bit flabby in the middle; considering this is a film that is only a little over two hours, it sometimes feels much longer and it's very much a movie of two halves.
The overarching thing though is how it isn't really a film about jeopardy or threat. It's a race against an unspecified time, a mystery that never feels mysterious and a desire to understand something everyone is struggling to understand. The aliens are coming and they've invited a lot of people to their party, while the people who think they're in charge are busy making their own agenda, yet this isn't what the aliens want. This is a movie that puts the viewer in Roy Neary's place - what would you do if you were Roy? There is also the fact there's a huge amount of naivety, yet a really well imagined procedure, even if we don't really get much explanation as to why and how it happened. This is a spectacle; it is an event film that allows style over substance but you don't really care because you are swept along by the event. I'd probably struggle to call it my favourite film of all time now, but equally, I can't think of anything I have seen as often or loved as much as this; I've always been able to fill in the blanks to make the narrative work better for me. I watched this Director's Cut for the first time and it has just enough of the Special Edition and the Theatrical release in it to make it possibly the ultimate version. Despite its age and the fact some of it has dated badly, it still probably deserves 8/10.That Told Me
My phone rang. I didn't recognise the number and realised it was probably spam.
"Hello?" long pause...
"Hello, is that Phillip Hall?" [always a spam call as no one really refers to me as Phillip any more]
"Uh-huh."
"This is Lisa Smith from [unintelligible]" [clearly her name wasn't Lisa Smith given the thick Asian accent]
"I'm sorry, could you say who you're from again?"
"I am calling you from [unintelligible]."
"I still didn't hear that, sorry. So, what are you trying to sell me today?"
"I am not trying to sell you anything, you stupid stupid man!" Click!
...
[An addendum to this: shortly before I pressed 'publish' I got a call on my mobile from someone who clearly wasn't trying to sell me something but wondered why I'd just called him. The thing is my phone has been plugged in recharging next to me all morning and I haven't even turned it on. The guy who rang me - who sounded like a proper geeza - was sort of apologising and wondering how it happened in the first place. It just confirms my suspicions that the digital network is fucked and we shouldn't be reliant on it...]
Memories
I had never seen Christopher Nolan's Memento, it was a film that never found its way to me and I was never that bothered about finding it. The wife had seen it, but I passed up on the chance. So, for our Sunday night film, we settled down to fill in a blank - which is pretty much what Memento is - a movie about filling in the blanks. It's a bit like Groundhog Day but in reverse with violence and without the humour. Guy Pearce plays Lenny, a man who suffers from a rare form of amnesia, meaning he cannot form any short term memories. He knows who he is and why he is doing what he does, but anything that has happened in the recent past disappears from his mind as quickly as it enters. What this film does is tells his story from the end to the point where, we the viewer, can go: "Oh, that's what this was about!" Except, it isn't quite as straightforward as that. It is a riveting watch, trying to work out what has been happening, except that's not quite how this works; this is about working out if what has happened is what you think has happened or if there's an unknown reason for it, or a reason that seemed like a good idea until Lenny forgot about it. it is confusing; it is so clearly a Christopher Nolan film. Is it worth the 8.2 rating on IMDB? Well, I'd only give it a 7/10 because I found a lot of it contrived and almost too simplistic. The film's major problem is you care about Lenny until you start to realise who he is by which point you simply don't care about him or anyone else.A History of Monday Night
In last week's blog, I spoke about having limited stuff to watch due to it needing to be something both the wife and I fancy watching. This led me to scour IMDB and other sources (such as Wiki) for something to add to the list that the wife wouldn't mind watching. Now, it dawned on me that we hadn't seen Batman Forever (the one with Val Kilmer) for 30 years and we'd never seen Batman & Robin, so I downloaded these and unfortunately Batman Forever was out of synch and it was bad enough having to watch that shite without it feeling like a badly dubbed Kung fu film. Then I looked at IMDB and saw that it had a rating of 5.2, but worse was that Batman & Robin had a rating of 3.5 - I now totally get why we never bothered to watch it. So instead of trying to track down a copy where the words matched the lip movements, we deleted those movies and watched something I'd fancy watching for 20 years, David Cronenberg's A History of Violence with Viggo Mortenson, Ed Harris, William Hurt and Maria Bello. It was something I'd been interested in since I saw trailers for it on Barry Norman's BBC film review show, but somehow it simply escaped me. Now, compared to the two Batman movies, this is a masterpiece, with a 7.4 rating. However, like many Cronenberg films there was just something tonally wrong with it - such as the scene with the blatant truly unnecessary nudity.It's the story of a mild mannered religious guy who kills two arseholes who are trying to rob his cafeteria, terrorise his staff and customers. He offs them in a very neat and efficient way and becomes an overnight celebrity, which also alerts some very bad men to his existence because Tom Stall might be former mob enforcer Joey Cusack and much of the next hour of the feature is whether he's a case of mistaken identity or the real deal. If this had been made in 2025 it would have starred Jayson Stayfum and had a body count in the hundreds, but this was not a long picture, just over 90 minutes, that felt like it was on for ever. However, it also felt like it needed more substance; maybe more of an in depth look at Tom's bullied son and his friendships; maybe more about Tom's wife and even their weird looking youngest daughter. It felt superficial and somewhat underplayed and when we get to the denouement, there was just something almost comical about it, especially William Hurt, who doesn't really do mob boss with any degree of believability. Obviously this was a metaphor for the fact that violence is everywhere and it even lurks inside a happy, normal home. It was just an okay film, not worth more than 6/10.
Not Winning
I didn't realise that the 2010 action film The Losers was based on a revamped DC comic, so when I found out about it I thought I'd best watch it and see what I thought. I remember the original Losers comic, but this was a 21st century makeover and the film reflected this. Starring Jeffrey Dean Morgan, Chris Evans, Idris Elba and Zoe Saldana, The eponymous group of ex-soldiers, now jobbing mercenaries, were set up by a cruel and heartless arms dealer called Max (Jason Patric), so they spend the rest of the movie tracking him down to kill him for the nasty shit he did. It was filmed a bit like the director was imagining doing a real life comic, but the freezeframes and slow-mo action sequences felt more 1966 Batman than 21st century action adventure. It had some iffy comedic moments - Chris Evans taking the piss out of Captain America feels like it should have worked but somehow didn't - and most importantly no conclusion. It was like the people who made it thought it would be such a hit they left literally everything in the story unfinished. It also started to get a bit boring and repetitive and ran out of steam. This was a generally poor film - 4/10An Almost Perfect Balance
By the time Ellie picked up and tuned a guitar to serenade Dina with an unplugged version of Aha's Take on Me, I was really starting to lose the will to live with The Last Of Us, once decent episode so far does not make a classic TV show and I avoided review sites after this episode because I didn't want to get angry. What this was encapsulates this kind of drama; fuck all is happening so you make enough noise to attract attention then you put yourself in a fucking stupid situation and barely escape by the skin of your teeth. Speaking of teeth, Dina sees a set of bite marks on Ellie and thinks she's been bitten, blows her head off and they decided to end the series early to put everyone out of their misery... Or at least that's probably what should have happened, because what we got instead was some lesbian grindcore and more inane and dull conversations between infatuated girlies. I do not understand why people think this is so good, it's like the LGBTQ Gilmore Girls with zombies.Guar-stly
Anyone who knows me won't be surprised to learn that I think the new look on-line Guardian is a fucking dog's dinner of style over substance. It is one of the worst page redesigns I have ever seen as the newspaper tries to represent its image of a newspaper on line and it fails so miserably I'm facing something of an existential crisis. I have grown to despise this once great newspaper, but it has been almost impossible to give it up. The reason for this is simple, I might not agree with the paper's political leanings, or I despair at its 'better than you' attitude and I absolutely hate the fact it spoils film and TV, but it had always been by far the easiest news web page to navigate. It did a good job of putting stuff where it belonged and it was easy to find things, most of the time. There were clear lines that separated Opinions from things in the Spotlight to Sport and Culture. That has gone in favour of garish headlines, huge pictures and literally three or four times the amount of strap line information than ever before. If I wanted to see what was happening in Sport, I'd quickly scroll down to the Sport section and look through the headlines. Now, when you eventually find the Sport section it's hiding behind this In-Your-Face design and has about 75% fewer stories. That's because further down the page, after News UK and a couple of new subheadings, there's More Sport, with a bunch of 'lesser' sporting stories, stuck somewhere else which seem more designed to catch you out than give you that all-encompassing coverage feel. It's fucking horrible and has left me with a serious dilemma - am I going to dump The Guardian completely? And if I do where else do I get my 'newspaper' fix?It's become like an abusive relationship in recent years. I hate the paper far more than I like it, but I just can't bring myself to walk away - to say goodbye to an old friend who has gone from being my ally to being something I struggle to be in the same room as at times. I stopped buying it five years ago, but it's a 'favourite' bookmark and I usually look at it a couple of times a day. I want something that does what the old Guardian web pages did. I don't need this new not-user-friendly layout and I'm not sure I can see myself getting used to it. I probably would if it had only just started to piss me off, but the newspaper I started reading in 1989 feels like it become my enemy about five years ago and I just keep an eye on it to see how far right it can shift without the ignorant realising it.
Princetown Road Trip
In a strange way, the seventh episode of Your Friends and Neighbors [sic] was probably the most enjoyable despite a lot of it being away from where the 'action' has been taking place. Coop, his ex-wife and their two kids are off to Princeton to look at the university as a place for their daughter to go, while the rest of their extremely rich and entitled neighbours deal with a police detective who seems to be extremely cynical about everything; thus making everyone a potential suspect in her eyes; especially Coop because he'd been seen a week earlier having a 'fight' with the dead body he woke up next to at the beginning of last week's episode. In many ways everything that happened between John Hamm and Amanda Peet this week was always going to happen, the surprising thing was it happened but not for the reasons we probably all suspected. Their daughter almost has sex with a Princeton student, gets very drunk and spends a lot of time throwing up and when they got back home the shit really hits the fan, but again in not the way you might have suspected. This shouldn't be as interesting and entertaining as it has turned out to be, but despite the rich and entitled arseholes inhabiting the screen it's taking on a life of its own and the knowledge it has already been renewed has now added to the intrigue. It has won me over.Columbo With A Bad Wig
Oddly enough it was not The Guardian's recommendation that started me watching Poker Face, it was a friend who said I might enjoy it and he was right. Two episodes into the first season and it is extremely entertaining and not at all what I expected. Natasha Lyonne - last seen in the strange Russian Doll - plays Charlie Cale, a woman with a unique talent: she can tell when someone is lying to her. This proves to be very useful if you're a card player, but as we discover in the opening episode it also landed her in trouble and the way she avoided that trouble returning was by switching off her 'power' and just living life, nice and easy. However, greedy men will go to great lengths to increase their wealth and that goes tits up for everybody because of circumstances too long and complicated to go into (or spoil it).Essentially, Lyonne's Cale is going to travel across the country solving murders while being pursued by the reason she got into trouble in the first place. That's all very good and slightly formulaic, but the thing is this is simply Peter Falk's Columbo reimagined for the 21st century with a female in the lead role, but all the same traits and foibles - but no cigar. That's not criticising it because it is a lot of fun and we quickly picked up on the things that Charlie would pick up on once the set up is complete. I kind of think Lyonne's gruff (maybe) New York accent and scruffy nomad looks might start to grate on me after a while, but at the moment it's filling a gap that last week I didn't think would be filled.
What's Up Next?
You may have noticed no Doctor Who for the second week on the trot? That's because I don't watch it any longer. I haven't even missed it a teensy-weensy bit...
There are a couple of new things coming out this week. Murderbot looks like it might be interesting and will be given a chance and I'm sure there will be something else to tickle my fancy. As usual what you see is what I see.