Where we look at one Scorching piece of artwork that generates excitement for what it is advertising.
Then on the flipside we also have a Torturous piece that makes you wonder how it ever got approval to promote the product...
After putting Tori Amos in the dock in my last Artistic Integrity, I realised that she now has a staggering fifteen album covers (including Y Kant Tori Read) that are ripe for scrutiny. I couldn't pass up the opportunity to then decide on her Pride & Prejudice covers now could I?
The Scorcher
The cover for Scarlet's Walk encapsulates everything this album is about. That windswept vista with the dusty road which looks rarely used; leading off into the unknown much like the listener is when first exploring the songs hidden within.
The records concept is all about the titular Scarlet travelling across America on the open road. This framed Polaroid really captures that feeling; it looks like the sort of thing a young carefree traveller would display from such a road trip.
I might not be a huge fan of some of the concepts Tori has explored on her records but out of all of them, I think this artwork is the best representation of what she was trying to accomplish for the album.
The Torture
On the flipside of her concept album covers we have American Doll Posse. Seriously Tori you are holding a chicken!
What I don't get here is that the album covers five different personas but the cover only has three of these characters on show. Surely it would have made the theme clearer if all five were present on the front. Yes I know it is a wraparound but no one looks at the back cover when first viewing a sleeve; your first impression is what you see on the cover.
If you take the picture as a whole with all five characters on show and Isabel in the middle; then it does become rather a striking piece of art. Technically splitting the picture in two robs it of its impact.
I actually prefer the picture on the inside of the sleeve as it has far more colour and less grey, but I guess the chicken won out!
Don't agree with my choices, well here are all fifteen covers for you to be the judge.
We decide what artistic endeavour passed approval to earn the Scorcher label from the past seven days & what also had the dishonour of being that week's Torture...
Now there will be some people who look at my choices this week and wonder how on earth the roles aren't reversed. I can understand those reactions but I will stand by my ruling and go on record as saying that they are deserving of their placement.
The Scorcher
What is this a former member of a boy band's first solo single being nominated for Scorcher of the week? While boy bands are not my forte I can say hand on heart that this song has struck a chord with me. 'Sign of the Times' reminds me of Suede and has a certain 70's sensibility about it.
The format is nothing new and a cynic would say that the writers have used a tried and tested formula for success. That may well be the case and if so then mission accomplished because they have created a song that I find myself singing along to whenever I hear it. Harry Styles might not be everyone's cup of tea but there is no denying that this is one catchy tune.
The Torture
How can I include last year's best picture winner at the Academy Awards for Torture of the week? Well one reason is because my expectations for this film were raised to a rather high level due to all the positive reports surrounding this movie. The synopsis had intrigued me and the casting of Mahershala Ali had also piqued my interest.
Overall I was left feeling disappointed with the final outcome. Yes it is a well-made film and the acting is reasonably good. It just didn't inspire me or leave any lasting impression. I can't say it was an enjoyable watch either; most of what happens is quite tragic and by the end you can't say anyone is in a better place although there is a certain amount of closure for Chiron I guess.
The whole way through I kept thinking how did this beat some of the competition to win best film? The only film that I haven't seen from the nominees is Fences so I am unable to comment on that one. From the other nominees however I felt there were at least four that would have been more deserving winners.
I love Ali as an actor and he is magnificent in his very limited role here; and that in itself is an issue, he is onscreen for roughly quarter of an hour at best. Once more I questioned the wisdom of his award win when compared to Dev Patel or Jeff Bridges in their respective roles.
I can't help thinking that the #OscarsSoWhite controversy of 2016 had something to do with this movies success at those awards. It would be a shame if true; but no more of a shame than some of the people who deserved the accolades in 2016 that missed out on even being nominated.
So yes this is a movie that failed to live up to my expectations and had me baffled when I consider all the love it did receive.
Artistic Integrity is a study of one particular artist's contribution to the world of entertainment. Are they worthy of the accolades or should they be sent down...
Like a lot of people my first introduction to Tori Amos was when I first heard 'Cornflake Girl'. It was at a perfect moment in my life as I was just starting to break away from listening to what all my friends were in to and develop my own musical tastes. This song alone was enough to convince me to purchase Under the Pink. It was one of the best musical purchases I have ever made. I instantly fell in love with this pianist; she reminded me so much of one of my long-time favourite artists Kate Bush. It was obvious from that first listen that the rest of the album was a bit different to 'Cornflake Girl'. I loved it though and felt that the track order was spot on. Opening with 'Pretty Good Year' sets a nice tone and ending on the epic 'Yes, Anastasia' felt like perfect bookends.
Imagine the euphoria I felt once I found out this was her second album and quickly went out and purchased Little Earthquakes; her debut. If Under the Pink got me interested, Little Earthquakes got me hooked. What a debut: 'Crucify'; 'Silent All These Years'; 'Winter'; 'China' and 'Me and a Gun' with its heartbreaking true story. Those were the highlights that immediately spoke to me. But they are all gems on this album; it is one of the strongest debut's I have ever heard. Boys for Pele would see the start of a worrying trend from Tori as her catalogue increased; the overlong record. The two previous releases were both just under an hour in length; Boys for Pele clocks in at just over seventy minutes. Tori also began to experiment with more instrumentation such as using the harpsichord on multiple tracks. It is the start of Tori expanding her horizons and while it is still a solid record, there are some songs that don't quite grab you 'In the Springtime of His Voodoo' is one example. My two favourites from the record are 'Hey Jupiter' and 'Putting the Damage On' both of which are more akin to her earlier output. The remix by Armand Van Helden of 'Professional Widow' is possibly Tori's most well-known tune and definitely her biggest hit. Her fourth album From the Choirgirl Hotel would again see Tori change her style with the addition of a full supporting band. This album was written from a dark place in Tori's life after having two miscarriages and this is reflected in the material as it has a darker tone, even the album sleeve emulates the gloom that must have enveloped her life during this difficult period. Overall the album got back to under an hour in length and felt snappier for it; there are no one minute interlude songs appearing here. The double A side release of 'Cruel' and 'Raspberry Swirl' single out my two favourite tracks. 'Raspberry Swirl' is another song that benefitted from being remixed, giving Tori another club hit song. To Venus and Back was Tori's first double album featuring new material on one disc and a second disc of live material from her back catalogue. The live disc is where the gold can be found. From the new material the bittersweet '1000 Oceans' album closer is the stand out song. The next release would see Tori explore two new things; firstly we have a concept album and secondly one that is a reimagining of other artists recordings. Both of these concepts feature further along in her career. Strange Little Girls isn't just an album of covers though. Throughout Tori's career so far she had covered songs by different performers, but interpreted them in her own unique style. This was a full album of covers all written by men, with Tori taking each song and arranging them in a style that reflects a woman's perspective. On the whole it is a success with 'Happiness Is a Warm Gun' possibly being the weakest of the bunch. If however you aren't a little unnerved by her version of '97 Bonnie & Clyde' then you are made of sterner stuff than I am! Now we start to get to the stage where the wheels start to come off a little bit. I get the impression that the concept album bug must have bitten Tori after Strange Little Girls because every release for the next few years has some concept around its development. Not only does it become a distraction from the music but it results in records that tend to outstay their welcome. After signing to Epic Records after relations soured with her former label Atlantic Records; Tori released Scarlet's Walk. Interestingly this is the only album since leaving Atlantic that has reached Gold status. Perhaps they were able to reign in some of Tori's more bizarre concepts; whereas Epic gave her a longer leash. There are some great songs that hark back to her origins such as 'Strange' and the hauntingly beautiful 'Your Cloud' with its simple piano tempo. Again she comes up trumps choosing 'Gold Dust' to end the album. While I do enjoy the record it still feels like a chore to get through with one listen.
The Beekeeper would again see an album heavy on themes and coming in at a whopping eighty minutes. Now I don't know about you, but when I listen to a record I don't normally feel like I should allocate the same amount of time as I would to a short film. Forty minutes to an hour is about the ideal length to my way of thinking, any longer and I start to get bored. As with all Tori's output there are gems on this record 'Sweet the Sting' and the title track 'The Beekeeper' being amongst my favourites. And while this is a steady effort, nothing really jumps out at you as being startling. It is probably the least likely record of hers I would choose to play. Possibly her most ambitious concept album, American Doll Posse, has Tori taking on the persona of five different females during her musical journey. Once more the themes are wide and varied and once again the outputs hit and miss. I don't think the concept helps matters as it seems so outrageous that at times you wonder what you are listening too. Is it a record to throw on as background music or is someone preaching at you? I tend to think more of the latter. For every 'Bouncing Off Clouds' and 'Girl Disappearing' there is a 'Big Wheel' with its cringe worthy MILF bridge section. But what do you expect when a record contains twenty three songs! This album would also see the return of songs which I class as musical interludes; ones that are just under or slightly over a minute long. If some of this fat was trimmed to bring the album to a more accessible duration then overall it would be a solid effort. Abnormally Attracted to Sin once more sees an album require more than seventy minutes of your listening time. Thankfully there isn't an overriding theme on this one as it is more of a return to a regular format. Songs were written on the road as well as at home which I feel contributed to the more traditional style. This helps the tunes be more accessible and there are no shortage of tunes either as there are seventeen in total. The title track is a highlight as is most of the second half of the album. Another common occurrence on most of Tori's records is an extra-long closing track in 'Lady in Blue'. Tori took a surprising turn with her next record Midwinter Graces; her first seasonal album. Tori puts a unique spin on some old hymns and carols to produce a challenging but also very rewarding Christmas album. It might not be to everyone's tastes as she breaks with the traditional representations of these songs. This has become one of my staples for the festive season and is often played at that time of year in my home. Tori's own original songs combine beautifully with the ones she chose to cover. Maybe she was bitten by the cover-bug as Night of Hunters is another record where Tori takes an original piece of music, this time from the classical genre, and reinterprets them in her own way. This is a wholly acoustic album that relies on that big classical sound. What it also does is bring Tori's piano to the fore. It is the first time in a long while where her piano skills have been at the forefront of one of her records. It might be long in length (but what else do you expect by now) and the concept is a little quirky but this one is definitely one of her stronger latter albums. There is a bit of a theme running through her last two records where the preceding album seems to have lit a spark in her creative output and directly influenced the next release. I feel the positive energy Tori took from recording Night of Hunters must have inspired her to look at her own back catalogue when coming up with the idea for Gold Dust. This time Tori revised her own work and gave it the orchestral polish. Interestingly out of the fourteen songs she has chosen the majority are re-workings of releases from the 90's. Time and life experiences probably had a say in why she decided on these particular tunes. Whereas her more recent output was probably still a little fresher in her mind and didn't quite have the distance required to re-evaluate their arrangements. One of her rarer releases is A Piano: The Collection. Listening to this will make you no stranger to different mixes of her music but the versions on Gold Dust are sometimes stunning in their interpretation. They make the listener very nostalgic for each song and at the same time create the feeling you are listening to something new. The overall selection of songs also complements one another quite well. Now I have a confession to make; I haven't actually heard Tori's last release Unrepentant Geraldines so I can't pass judgement on this particular record. The reason for this I put down to the lethargy I have felt as each new album has not quite lived up to my expectations. By all accounts it is quite a decent release and one that I might put under interrogation in a future trial. With the planned release of Native Invader coming this year it has been a good time to investigate this chanteuse's career. If anything this retrospective of Tori Amos has given me a new appreciation for some of her later work and I now feel a bit more intrigued to see what this latest album will offer.
Verdict:
Tori nowadays would be strapped down and forced to listen to younger Tori in the hope that she goes back a bit more to her origins.
Splitting a portion of this persons back catalogue into what I would "go to" and what I would choose to "avoid"; given the choices I would categorise this entertainers output as thus... The Scorcher's:
The Witch Trial:
I do love putting witches on trial. This particular enchantress who is using magical means to make lovesick fools out of the men she meets definitely deserves to be put in the dock. Who:
Director: Anna Biller
Starring: Samantha Robinson, Gian Keys, Laura Waddell, Jeffrey Vincent Parise What:
Horror/Thriller Why:
Original story When:
Set in modern day but with massive leanings to the 60's & 70's Where:
Arcata, California
The Case For:
The first thing that grabbed my attention for The Love Witch was the beautiful hand painted movie poster (not the one included above; I went for one with more of a retro feel). It immediately brought to mind the old horror films of the 60's. Upon further investigation I discovered that this was wholly intentional as it was this very aesthetic that Anna Biller was aiming for.
Biller has created a lovingly crafted homage to 60's/70's horror films but set events in the modern day, tackling feminist themes and using the witchery as a metaphor for female empowerment.
I will admit that IMDB threw me off as I was expecting a parody film that would do for old horror what Black Dynamite did for Blaxploitation movies of the 70's. This did affect my enjoyment at first as I couldn't see any comedic moments. It didn't take long for me to realise that it was in fact a different type of film altogether and so settled in to view what it had to offer.
The most striking aspect is the colour and the way it just pops off the screen. Biller intentionally wanted the audience to feel like they were watching an old Technicolor movie and her cinematographer David Mullen certainly achieved that aim. Every scene is beautifully lit and framed; with vivid reds and creams contrasting lovely with different greens, purples and browns. The film is literally dripping with colour. It brings to mind the look and feel of the Italian giallo genre as well as horror movies like Suspiria that use colour to their advantage.
Another aspect that compliments each scene wonderfully well is the orchestral arrangements. Again giallo's like The Bird with the Crystal Plumage were the first thing that came to mind, but also some of the more folk horror films such as The Wicker Man that incorporate musical numbers so well. The tunes help immerse you into the scene without feeling your emotions are being manipulated in anyway. I wonder if some of these choices were preselected before filming. The tempo matches up so well at times I wouldn't be surprised to find out that the music was playing whilst filming took place on some scenes.
There are so many classic techniques utilised as part of the filmmaking process that you can see Biller really has an appreciation for what she is mimicking. Close ups of lips and eyes or the different camera angles used for a certain shot are all frequently seen throughout the era Biller is paying homage too.
A film like this has to get its lead role spot on and the casting of Samantha Robinson as Elaine nails it hands down. She has such classic beauty you can totally believe that these men would be falling all over themselves for her attention. I could not help look at her and not think of how similar she is in looks to Edwige Fenech one of the go to girls from the films this aspires to be compared too.
Robinson embodies Elaine with all the deadly charm this femme fatale presents to her victims. She also displays the sweetness and fragility of someone who has feels she has been wronged before; who only really wants to find a suitable partner. You can see that she has a vulnerable side, although if you upset her then be prepared to feel the full force of her wrath.
I was left very impressed with Robinson's performance. As she appears in the majority of the scenes she has to be able to hold your attention and she does this ever so well. Considering the acting style overall is quite stilted in the delivery of dialogue and the action is a bit staged; Robinson makes it look natural and not out of place. This was obviously a style choice to keep in the spirit of the films being emulated and out of all the cast Robinson carries it off the best.
Jeffrey Vincent Parise as Wayne is another who handles the stage direction very well. His carefree teacher looking for free love in a very 60's hippie kind of way totally fits the mould. Of Elaine's conquests his interaction with her was the most enjoyable for me. His forest cabin with the open fireplace felt like the perfect setting for someone like Wayne to take a potential love interest to try and woo her.
That is another aspect that Biller gets so accurate; the set design. Everything feels like it has been lifted from an older era. It might feel a little anachronistic at times; especially when viewing some of the vehicles or the clothing on the extras, but that is only a minor distraction. Biller was responsible for the set design and she definitely has an eye for detail.
Likewise her costume choices also felt on point. Elaine goes through a number of outfit changes and each one compliments the setting or event taking place. Once more Biller chooses the colour of each costume to accentuate the beauty of the overall shot. This is a gorgeous film to look at.
I don't want to go into the messages or issues that Biller is trying to put across as there are many. Some I felt were done well, others a little heavy handed or I felt sent out some mixed signals. What it does do is provoke some interesting conversations afterwards and I expect many people will debate the rights and wrongs of what they take away from Elaine's pursuit of a perfect partner.
The conversation between Elaine and Griff about her guilt prior to the final scene is so well scripted it really makes you think just how guilty is Elaine in the end scheme of things? Sure she is indirectly responsible for what has taken place but you can see the points in her argument. It would be very easy to take the simple way out at the end of the movie but I loved the way it finished. No spoiler but the final outcome was quite satisfying indeed.
The Case Against:
The first question that came to my mind was why set this in the modern day but spend so much energy reflecting the style of films from the 60's & 70's? If you were watching this with no knowledge of horror films from this era, particularly ones dealing with devil worship and witches, you could easily be forgiven for wondering what the hell was going on.
The problem is that it mimics those films so well at times that it could very well be an old movie. Suddenly though a modern vehicle will appear in a scene and straight away that nostalgic façade is broken. It can be a bit jarring. I imagine budget constraints had a lot to do with the decision not to go full on 60's and I can appreciate that. However would it have been easier to locate the story in a more isolated location to help avoid some of these anachronisms?
I have mentioned how Robinson nailed her performance and the tone Biller was going for. The rest of the cast certainly understood the filmmakers theme but didn't quite reach the same level. If that was down to the individual acting ability of the supporting actors I don't know. I felt some of the other performances just felt a little bit more forced when trying to hit the mark.
This would also affect the films appeal to a wider audience and again it comes down to knowing the source material. I love old movies and know what to expect from the actors performing in them. But if you are viewing a movie made now you expect a less stilted performance and the action to be a bit more dynamic. Once more the modern setting is what brings this more to your attention.
Elaine's seduction of Richard felt like a repeat of how she seduced Wayne. While the setting and her costuming are different; the scene itself is a very similar striptease that takes place after drugging her victim. Don't get me wrong I could watch both strips on repeat as Robinson is a very attractive girl! However with a bit more thought I am sure the writers could have come up with a different way for her to use her womanly wiles and magical means to ensnare one of these men.
Maybe we are supposed to believe this is Elaine's modus operandi but she doesn't use the same technique on Griff. This romance is a little rushed and not as believable without the use of a magical potion. I also wasn't keen on Gian Keys who plays Griff so that might have influenced my opinion of this particular relationship.
I did feel the film could have been a bit shorter. At two hours in length it does have moments where it sags. The visits to the bar for example feel totally unnecessary; or at the very least don't need to take so long to get to the point. The films it is emulating would generally have a running time somewhere between ninety minutes to an hour forty. It would have been more in keeping with the theme if this too was of a similar length. Some more judicious editing would have resulted in a tighter, tauter thriller.
Verdict:
She isn't a harmless witch but I am loath to let such an irresistible temptress burn at the stake. After all I doubt I would be able to resist having a drink if Elaine was to offer me one.
We decide what artistic endeavour passed approval to earn the Scorcher label from the past seven days & what also had the dishonour of being that week's Torture...
So this week I explored an old story about a tyrant terrorising Ye Olde England and then went on to watch a film about a true tyrant causing genocide in the Ukraine. One of these was well written; the other, not so much.
The Scorcher
I do like to discover books from a different age that are able to still get your pulse racing and have you turning each page in eager anticipation. One such author who often is able to get my attention in this way is Edgar Rice Burroughs. I have previously enjoyed John Carter's adventures on Barsoom; as well as his Caspak series. So I was more than happy to dive into one of his historical adventures The Outlaw of Torn.
This is a book about a master swordsman who betrays his king by kidnapping his son and leaving the king and queen heartbroken; not knowing if their son is alive or dead.
The reasons for the villain Jules De Vac's treachery are paper thin but every story has to start somewhere. Why didn't he just bugger off back to France years ago if he had such a problem with the English he was serving, that's my question? Anyhow far be it for me to judge the mind of an insulted proud French knight.
De Vac kidnaps the kings son Richard who he renames Norman and raises him as his son. He teaches him swordsmanship as well as hatred towards all Englishmen. He becomes an outlaw and terror to all who venture near to the territory of Torn where they choose to live; hence the title.
A kindly priest that Norman befriends adds balance to his life and opens his eyes to some of his harsher ways. Norman's inner turmoil is one of the most enjoyable aspects explored in this character. It is his upbringing that has made him what he is but deep down there is that moral conflict eating him up. He questions the true motivations of De Vac and comes to realise there is more to his life than banditry.
His life takes on true meaning once he meets Bertrade who he will fall madly in love with. This in turn will send events in his life spiralling to the final conclusion as he heads towards redemption or oblivion.
I love that you can read this and question the whole way through if you want to see Norman succeed in his quest for Bertrade's hand in marriage; or if you want to see him hung as the criminal he was raised to be. You want De Vac to get his comeuppance certainly; but by the same token opinions will vary from one chapter to the next on Norman.
As formulaic as some of the story is; there are still a couple of surprises that you might not see coming. I don't want to spoil any but a couple of gruesome things take place that really took me by surprise.
There are many books that have a similar pattern to The Outlaw of Torn. Much like a lot of sci-fi and fantasy that follow Edgar Rice Burroughs blueprints; you have to wonder if this book has had similar influences on more modern works. If anything this novel has me more convinced what a true master storyteller Edgar Rice Burroughs was in life.
The Torture
I don't think I have watched a film that has dragged on and on like this in a long time. Bitter Harvest is only 103 minutes in length but feels like an eternity. That is because there is nothing, absolutely nothing endearing about this heavy handed; overly melodramatic (historical) movie.
You might wonder at the parenthesis used there and I am not denying the horrific events of the Holodomor in any way shape or form. What took place during the early 1930's between Russia and the genocide of the Ukrainian population was terrible and deserves to be brought to the attention of the wider population.
Using these tragic events as a backdrop to a story about a romance is certainly not the way to do it; especially when the execution is so poorly handled. This could have been set during any devastating event in history and would have still told the same tale. None of the events occurring in the Holodomor have any real impact on the story. It could just as easily been French resistance fighters during WWII; or Scottish highlanders during the Jacobite risings.
The point here is that the filmmakers wanted a setting that hadn't really been used before; a harsh environment to place this couple in; and against all odds have them survive to be together at the end. The care and compassion shown to the subject matter should be at the forefront; making the final reunion all the more satisfying, but the filmmakers treats the Holodomor with irrelevance.
Instead they throw in a few vignettes of a wagon of crops rolling past a few supposedly starving people (no one actually looks like they have missed one meal, let alone not eaten in days). Or they will have a Russian soldier carry out a murder and we then view the subsequent funeral that has to be shown in slow motion for extra dramatic effect. All of this misses the mark completely of really portraying the atrocities committed.
The films style and execution has the look of a bad midday telemovie. The happy moments are all colourful and brightly lit. Once things start to sour the colour pallet changes to dark grey and monotone colours. None of this is done with any subtlety. Just in case you missed the tonal shifts the music is there to constantly remind you what sort of scene you are watching and how you are supposed to feel about what is onscreen.
Added to the poor direction are the sub-par performances from all the actors. Max Irons isn't a strong enough actor to carry this film on his own; which he pretty much has to try and do being the main focal point. He is drab and bland and looks like he can't be bothered half the time.
Terrence Stamp is totally unbelievable as a sword wielding Cossack and looks all of his 78 years of age. This is all the more comical when he has not one, but two sword fights with the physically imposing and much younger Tamer Hassan's Sergei. Hassan looks like it would take him all of five seconds to take care of Stamp. You almost feel embarrassed for him as he holds back on swinging his sword so his much older opponent can get back into a fighting stance.
Sergei is such a stock standard moustache twirling bad guy that at any moment you expect him to turn to the camera and start laughing maniacally. All of the Russians are portrayed as such. Then again the Ukrainians aren't treated much better; the rural populace are clearly gypsy peasants and the residents who live in Kiev are obviously more refined middle class citizens. The stereotyping is mind-blowing.
Honestly this film has nothing that I can recommend about it. It is 103 minutes of my life I won't get back. All in all the historical events deserve a far better cinema representation that will treat this tragedy with the care and integrity it deserves.
The Witch Trial:
I can hardly let the final season of Salem pass by without going hunting for some witches now can I? Who:
Created by: Brannon Braga & Adam Simon
Starring: Janet Montgomery, Shane West, Seth Gabel, Tamzin Merchant, Ashley Madekwe, Elise Eberle, Iddo Goldberg What:
Season 3 Why:
A dramatized version of the witch hunts that took place in Salem When:
Set in the 17th century Where:
Salem, Massachusetts
The Case For:
The first thing that grabbed my attention for Salem was the awesome poster for season two with the witch on an upside down cross. I had heard of the show but not really paid it any attention. The poster was the catalyst for getting me to watch it.
For those that don't know; the show follows the story of Mary Sibley the self-proclaimed matriarch of Salem who has used her witchcraft to attain her position. Her love interest John Alden is a witch hunter, unaware of Sibley's true nature.
By the time we get to this final season Mary's and John's child who was taken at birth, has had his body consumed and taken over by the Devil who has plans to release all the fallen angels from Hell and make himself a god on Earth. This is the main storyline for the season and at various points Mary and John, along with help from others, will try and thwart the Devil (known as Little John here) and his nefarious plot.
The creators of the show went into this knowing that the show was not being renewed for a fourth season so had the luxury of being able to write this season with an end in mind. The main benefit of this has meant that the show feels like a solid three act structure with each season forming one act. We had the first season set up where we were introduced to all the characters and got an understanding of how they relate to one another. The second season propelled the action along with a great conflict as the Marburg's appear to be the greatest threat. That proves to be more of a red herring though by the conclusion of that season; bringing us to our final resolution in this closing season.
Knowing this was going to be the end; I think Braga & Simon decided to go out with a bang and really upped the gruesome stakes. The blood and gore was far more in your face this season and the makeup and effects work are all top notch. The first season is tame by comparison and it is a shame they didn't go for this level of shock value from the beginning because they carry it off really well.
The set design is something else that is also very well realised. They definitely get the feeling of the times with all the wooden buildings and the muddy streets. It feels like a Quakers village. Added to these wooden structures in Salem is the Sibley mansion with all the gothic trappings of a haunted house. Mercy's brothel is another set with its own distinctive characteristics that suit the madam well. Sets and costumes is something the show has always done well.
One of the characters who benefits greatly from the special effects is the new addition of the Sentinel; or Big John as he is also known. His introduction is fantastically gruesome and something different to the norm. Samuel Roukin instils plenty of menace in this fiend and uses his size to great advantage as part of his portrayal; he is truly frightening.
Sebastian Von Marburg is another person that I very much enjoyed watching this season. The whole time you are wondering what exactly his end game is as he seems to be playing Mary; Little John and the talking corpse of his mother Countess Marburg all off against one another. His arc had me guessing the whole time, even though you know that there will be a final showdown for him come the finale. A glorious showdown it is too once it arrives.
The intrigue and machinations of the main players is central to the overall story as alliances are formed and broken throughout. As allegiances switch back and forth at a dizzying rate; you wonder who can trust who in the final scheme of things. Some of this is done well, some not so much but I will get to those when I torture the season.
During its three seasons Tituba has been one of the most interesting witches and her double and triple crossing ways go into overdrive. She might be a little underused over the ten episodes but she still packs a punch when she does appear and that is a credit to both the story and Ashley Madekwe's performance.
I did like the romance between Hathorne and Mercy Lewis. It is something that comes from leftfield as you are expecting a completely different outcome to their relationship. From where the story started to where it ends up for Mercy is one of the triumphs of the show. Her story has all the tragedy of Romeo and Juliet to it.
It would be remiss of me to talk about the various relationships between the witches of Salem and their respective beau's without discussing Mary and John, after all it has been a story about their love all along. Theirs is a gothic romance and it is most prevalent that is the angle they are going with in this final season. What I will say, without wanting to spoil anything, is that I was happy with the outcome of their relationship.
The other unlikely couple of Cotton Mather and Anne Hale has shall we say its ups and downs. At first I was a bit unsure as to why Anne was even bothering with keeping Cotton on her leash. It was obvious that he wanted nothing to do with her. By the end you can see that he was part of her plans but I was still left a little confused about her true feelings for him. I felt this was a deliberate ploy on the writer's behalf though. Ultimately it the decisions made by Cotton that propels Anne to follow her chosen path.
That brings us to the final episode and did it end on a high or did it fizzle out like a miscast spell? Well a bit of both, but more of the former. The final twists it takes did take me by surprise. For a show dealing with dark magic, it didn't shirk its responsibilities to keep faith with that premise. The shocks kept coming as retribution was meted out to all and sundry. Everyone has a conclusion to their story one way or another. I loved the final scene as I was not expecting to revisit this arc after what had happened earlier in the episode. The decision to close the show here was inspired. It feels so relevant to the material that we should end up in this place...
The Case Against:
There is an awful lot of plot crammed into ten episodes. Whereas the first two seasons were both thirteen episodes in length; the third was restricted to ten. It can therefore be a bit confusing following all the threads as they play out. Some of these also feel rushed, such as the Sentinel. I would have loved to see a bit more of an introduction to him. When Big John first appears you are taken aback and wonder what the hell he is all about. But then he just becomes part of the main group and isn't explored in as much detail as I would have liked.
Not only is some of the story rushed for time, some of the storylines feel a bit pointless and don't really go anywhere. Alden and Billy for example feels like a complete waste of time. They spend time creating a bit of interest in Billy only to end it after a couple of episodes. This is time that I felt could have been spent better off fleshing out more of the main plot.
While I am a big fan of Mercy Lewis as I have mentioned; in this season the story arc of both Mercy and Isaac could be from a completely different show. They felt like a bit of an afterthought, as if they had these characters and were building them up to something but didn't really know where to take them. Overall I was a bit disappointed with how their narrative unfolded.
Like Alden and Billy; the subplot of Isaac and Dorcas didn't really grab my attention either. That might have had something to do with one of the stupidest names for a character that I have heard in a long time: Dorcas. Every time I heard this name I thought Isaac was insulting her! Their relationship also has an uncomfortable feeling to it, I am sure it is meant to be innocent but there were times where I wondered if it was heading where it shouldn't.
The whole red mercury plot device feels like a bit of a MacGuffin. It has no bearing in the final scheme of things and once more takes up time that could have been spent on more important themes. All this achieved was to really confuse me! Marilyn Manson's Thomas Dinley, who ends up in possession of the red mercury, was someone who you would look at and think there is something wrong with him. Sweeney Todd had to be the inspiration behind his character. I didn't mind his addition to the series, I just found him to be a bit one note.
Considering Salem has been Mary Sibley's story, for much of the third season she gets pushed to one side a bit so we can get all these different threads coming to the inevitable conclusion. It feels a little jarring after spending two seasons concentrating on her hopes of being with Alden. Come the finale the focus has completely shifted from her and it feels like a left turn.
I did have big issues with her son Little John or I should say Oliver Bell who plays the role. He might not be a terrible actor and it is always tricky casting children in parts. My problem was that I didn't feel Bell was a strong enough actor to carry off such a vital role and one that is so prevalent during this season. He didn't have enough presence to make me fearful of him. Compare him to Big John who does scare the pants off you. I know he is a grown man and it is much easier to imagine an adult being able to hurt you. If you want to compare him to another devil child; I guarantee if I had come across Damien from The Omen that kid would frighten the shit out of me! Bell doesn't have that menace and this role required that fear factor to get the full impact with the audience.
I can't help wondering if The Witch had some influence on the direction the writers chose to end the series with. There are certain parallels I could see between the film and this television show. That isn't technically a bad thing as that film is excellent and if it did inspire the writers that's fine but it did feel a bit derivative.
So while this is by no means a perfect show, and it hasn't been from the start, the third season had its highs and lows but managed to do what a lot of shows can't and that is finish in a satisfying manner.
Verdict:
Are there any witches left for me to hang from the gallows? Approach with caution and find out.
We decide what artistic endeavour passed approval to earn the Scorcher label from the past seven days & what also had the dishonour of being that week's Torture...
I was a bit torn as to what film to include as my scorcher this week because I thoroughly enjoyed A Monster Calls which is a different beast to the film I opted for in the end. Whilst it isn't as uplifting as this week's scorcher; it certainly has a positive message at its core. Something else I considered including was Salem having just completed watching season three. I am still deliberating exactly what side of justice that show falls. Might have to consider it for a full review in due course...
The Scorcher
You know how sometimes you watch a film and know straight away that the film makers are playing with your emotions to gain your favour towards their protagonists; but you just don't care because you are having fun going along for the ride? Well that is exactly how I felt watching Hidden Figures.
This is a film that straight from the moment you are introduced to Katherine Goble, Dorothy Vaughan and Mary Jackson that you know whatever happens here; you are going to want them to come out on top. Our three leading ladies of Taraji P. Henson, Octavia Spencer and Janelle Monae all give excellent performances that endear you to these wonderful; smart and most of all courageous women. They are not alone though as both Kevin Costner and Mahershala Ali in particular ably support in their respective roles.
A lot has been said about this being a film about a person's colour and the segregation of the times and make no mistake it most definitely covers these topics. It is also a film about misogyny in general and the negative attitudes of this era towards women; never mind those women being black, which creates a whole other level of contempt on screen. All of this is handled with due diligence and care by director Theodore Melfi. You get enough of a sense of what these ladies are experiencing without it becoming overbearing. The message isn't rammed down your throat as can often happen when handling this type of subject matter.
The heart of the story is one of triumph over these negative attitudes as well as the bigotry and adversity faced by not only the three central ladies but also the other members of their department. While it might not be 100% historically accurate it still covers the relevant events. Overall it does a great job of conveying the positive message that it sets out to do. Hidden Figures is by far one of the better 'feel good' movies I have seen in recent times.
The Torture
It has been seven years since the release of Plastic Beach and I like many others thought this would be the last release from Gorillaz. So to hear that they had been working on new material with a planned album release later this year had filled me with a bit of joy.
I must say this first single Saturnz Barz has left me feeling a little underwhelmed. It isn't a terrible song mind you. But after barely containing my excitement I am a bit disappointed not to have a new Clint Eastwood assailing my ears. Not that I want the same sound but I was hoping for something with a bit more pizazz! Anyhow watch the cool clip and see what you think. I am hoping that it grows on me after a few more listens.
