It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.
The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. And if you want to know when any of these shows are on in your area, there’s Locate TV – they’ll even email you a weekly schedule.
I’m back! Miss me? Of course you did. Well, maybe. But I’m back either way and raring to watch some tele.
In fact, I’ve been watching some tele for the past month… past two weeks anyway, most of which was catching up with the previous three weeks I’d missed. So after the jump, I’ll be talking about those shows I managed to watch and in most cases see through to the end of their seasons: Glitch, Halt and Catch Fire, Hannibal, Impastor, The Last Ship, Mr Robot, True Detective and The Whispers. Oh yes, and despite my promises to the contrary, I also tuned in for the first episode of season 4 of Continuum. Humans I’ll get round to once my lovely wife has cleared her backlog of My Kitchen Rules Australia.
But over those five weeks, I came up with a new rule: no new tele during August. If you start airing your new show in August, it’s dead to me, because you picked a very silly time to start it.
That means that although Netflix gave us not only Wet Hot American Summer: First Day of Camp as well as Narcos, I’ve not watched either of them. Or any of Amazon’s Casanova and Sneaky Pete. HBO’s Show Me A Hero? Please don’t. Showtime’s Blunt Talk? Honestly, no. Public Morals? Can stay private, thank you very much.
Which isn’t to say I won’t watch them at some point. Indeed, if you’ve started watching them, let me know if they’re any good so I can prioritise them accordingly. But for now, I’m not in a rush to tune in, particularly since the Fall 2015 season is about to dawn on us with more than a dozen new shows, so I’ve got to schedule accordingly.
On which subject, I did manage to watch the pilots of a few of those forthcoming shows, including Lucifer, Blindspot and Minority Report – hopefully I’ll be reviewing them over the next couple of weeks.
I also watched some movies and went to the theatre a bit, too.
Walk of Shame (2014) (iTunes)
One of those films that on paper I should have loved since it features Elizabeth Banks, Gillian Jacobs and Willie Garson. Except I really, really didn’t.
It sees Banks play a goody-goody TV journalist who’s just been dumped by her fiancé and turned down for a new job, so decides to let loose and has a one-night stand with James Marsden. Except then she finds out that she actually has got the job after all, provided she can get into work that morning. Wouldn’t you know it? Things go hilariously badly in her attempts to get there on her ‘walk of shame’.
Unfortunately, Walk of Shame is not so much borderline misogynistic and offensive than actually misogynistic and offensive. Iit’s also without any of the redeeming quality of ‘being funny’.
The Men Who Stare At Goats (2009) (Netflix)
Lovely wife and I used our holiday to read some actual books, including a whole stack of journalist Jon Ronson’s, amongst which was The Men Who Stare At Goats. An investigation of the US Army’s post-Vietnam dabbling with psychic powers, the book is largely an account of Ronson’s investigations as he visits one former ‘psychic soldier’ after another to learn what happened as the army tried psychologically to deal with its loss.
We ended up wondering how the book could be adapted as a movie with Ewan McGregor and George Clooney, and the answer is: by fictionalising it. McGregor plays a journalist recently dumped at the outbreak of the Iraq war (the point where Ronson’s book ends) who bumps into a ‘contractor’ (Clooney). Clooney is a ‘jedi warrior’, trained by the US army to be invisible, burst clouds with his mind, walk through walls, stop a goat’s heart goat by staring at it and more. Or try to, anyway.
The movie is then a juxtaposition of McGregor’s learning in modern day Iraq about what it is to be a Jedi warrior (the irony is not lost on the film’s producers. At all) and flashbacks to the foundation of the army’s Jedi warrior movement by Jeff Bridges.
The film is a bit clumsy as a satire, trying its best to weave real world elements from Ronson’s book into the fictionalised journey, but ultimately normalising them, rather than making them as genuinely weird as they were (Bridges’ real-life counterpart was the man who came up with ‘Be All That You Can Be’, back when he thought that wars could be stopped by small children holding baby animals in front of them). It’s better if you’ve read the book, but Clooney is great to watch whether you have or not.
The Bakkhai (Almeida)
The second of the Almeida’s major productions of ancient Greek plays, this sees Ben “Paddington Bear” Wishaw playing the god Dionysus, visiting ancient Thebes to bring his religion to its population of women, and finding resistance from the king, Pentheus (Bertie Carvel from Jonathan Strange & Mr Norrell).
In contrast to the Almeida’s radical reworking of Aeschylus’ Oresteia, this version of Euripides’ classic text is one of the most traditional productions I’ve ever seen, with the text rarely deviating from the original except for the occasional modern bit of humour, the chorus singing all their lines and the cast being just three men who share all the roles between them. Much is made of the gender-blurring and homoeroticism of the play, as Dionysus grants Pentheus’ desire to see what his debauched female followers get up to by persuading him to wear women’s clothes (Carvel plays his own mother, too). But it’s not until the end and Dionysus reveals his terrifying true nature that the show’s real power and tragedy kicks in.
Probably a bit too traditional for its likely audience, judging by the reserved applause at the end of what are tour de force performances by both Carvel and Wishaw, but well worth it if you’re a lover of Greek tragedy.
Ever since Alex Cox chose it for his BBC2 show Moviedrome, way back when Silence of the Lambs was released in 1991, Manhunter has been one of, if not my absolute favourite films. If you want to know the reasons why, I wrote about it a few years ago.
Based on the book Red Dragon but retitled after the box office flop of Year of the Dragon, 1986’s Manhunter was actually the first Hannibal Lecter movie, although it featured Brian Cox as Lecter (aka Lecktor in this). Despite being directed by the King of the 80s, Michael Mann, it never went on to acclaim at the time. Since Silence, however, it’s built up a huge cult following and is arguably still the best of the Hannibal Lecter movies.
However, once Silence took off, the desire to remake Red Dragon with Anthony Hopkins became almost insatiable. The result was that in 2002, Brett Ratner directed Red Dragon, a remake of Manhunter starring Hopkins, Ed Norton replacing William Petersen as Lecter’s nemesis Will Graham. Yes, Brett Ratner. For those who don’t know Ratner, he’s very much Hollywood’s most average director. He’s not terrible, but every film he makes is literally the most average version possible of any given source material.
Since then, however, Hannibal Lecter has moved over to the TV world in the form of the rather wonderful (albeit inconsistent) Hannibal, with Mads Mikkelsen now playing Hannibal “the Cannibal” and Hugh Dancy playing Will Graham. A hybrid of Red Dragon, Silence of the Lambs, Hannibal and Hannibal Rising, it’s plotted its own course with the source books over the past three seasons, rounding off its latest (and probably last) season with a multi-episode adaptation of Red Dragon.
Now some enterprising person (Matthew Morrettini) has taken all three versions of the same scene – Will and Hannibal’s first meeting following Lecter’s capture – and edited them together to show you the differences between the three takes on the novel. Much of the dialogue is the same, so the performances and direction are what differentiates them. Watch the video and you’ll notice how iconic, clinical and 80s Manhunter is, how artistic and surreal Hannibal is… and how incredibly, incredibly average Red Dragon is.
