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.
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...
War and Mobsters have been the order of the day over this last week. My scorcher is full of material ripe for a film adaptation. I would love to see a screen version of No. 46 Squadron and all the triumph and tragedy associated with Tom Cundall and Co.
Sometimes you have to be careful what you wish for as not all book adaptations work out as my torture this week did not live up to expectations. I haven't actually read the novel but I am keen to give it a perusal.
The Scorcher
There are many books covering the events of World War I but not too many that focus solely on the newest form of warfare of the time: war in the air. Author V.M. Yeates was a fighter pilot with No. 46 Squadron and wrote his novel Winged Victory based on his and his fellow pilots experiences during the Great War.
Whilst this is a work of fiction, it is based around actual events and draws extensively from Yeates' memory for detail of the reality of war. His exposure to the ghastly goings on around him and the other flight crew are told in great detail through the eyes of the main protagonist Tom Cundall. Some of the supporting characters are heavily influenced by the people who fought alongside Yeates.
Yeates puts across the differing views of the pilots and the debates they share about the futility of war. Some of these views are unfortunately still as relevant today when compared with the conflicts still going on around the world. It is quite confronting to realise that soldiers had similar opinions about world leaders and the money grabbing ways of people who are out to profit from war. They are the same sentiments that many people feel today.
There is an awful lot of repetition in this story as Cundall goes on flight after flight, often with no real purpose or result. This can make the book quite a grind to get through but I chose to view it differently. I put myself fully into Cundall's position and treated it as an opportunity to experience the monotony and drudgery of war that he had to go through day after day. It helped me gain a better perspective of the character and allowed me to feel his frustration more as he questions what it is that he is actually achieving; other than constantly putting himself in danger of being killed.
Normally when people think about WWI the first thing that pops into mind is the endless trench warfare and the other types of battles that took place tend to be forgotten. It was very refreshing to get a real understanding of how these pioneering pilots fought in a new theatre of war.
It was fascinating reading about the dogfights and the fragile nature of these early aircraft. The everyday life on the ground was just as enthralling as the descriptions of the flights. It appears that their living conditions are a million miles away from what the average Tommy was having to put up with as they buried their heads in a foxhole; hoping that the next mortar shell would pass them by. By comparison Cundall and his friends live in relative comfort when not flying and are often found spending their evenings in drunken debauchery.
That isn't to say that they aren't under duress as shelling often occurs close to their quarters but nowhere near the same levels as the trenches. It is once the pilots take to the sky that their lives are truly in danger and because they are living with the knowledge that each day could very well be their last; you can excuse their excessive behaviour.
I would describe this novel as an aerial version of All Quiet on the Western Front with its pessimistic views about the ensuing conflict. The real tragedy with both novels is that the two authors were writing from the heart in the hope that tales such as these would help prevent more wars in the future. Yeates passed away before WWII commenced; I can only imagine what his thoughts would have been about the terrible events to come.
The Witch Trial:
Rumours of strange goings on in the neighbourhood of Hawkins have brought us to investigate and see if we can uncover what is taking place. Will we get to the bottom of what has happened to Will Byers and will anyone be burnt at the stake for these crimes? Read on to find out how our trial went. Who:
Director: The Duffer Brothers
Starring: Winona Ryder, David Harbour, Matthew Modine, Cara Buono and a whole host of young stars in the making What:
Horror/Drama Why:
Season One When:
Released 2016 Where:
Set in 1983 in Indiana
The Case For:
I have promised this trial on a couple of occasions now and thought it was high time to get round to putting the collaborators on the stand. I am not going to make any excuses for what follows as I am going to gush buckets of praise upon these souls.
For those that don't know what Stranger Things is about here is a rundown. The basic story is set during the early 1980's in the Midwest of America in the fictitious town of Hawkins. Will Byers a local kid has gone missing in strange circumstances. His three best friends Mike Wheeler, Dustin Henderson and Lucas Sinclair are determined to get to the bottom of what has happened. They are aided in this quest by a mysterious girl known only as Eleven. Meanwhile Will's frantic mother Joyce believes that Will is trying to contact her using psychic means. This irritates her eldest son Jonathan who thinks his mum is just having manic episodes in dealing with her loss.
Jim Hopper the chief of police leads the investigation and starts to think that Joyce might not be as crazy as she appears. Eventually Jonathan starts to also come to the same conclusion with the help of Nancy Wheeler, Mike's older sister whose best friend Barb also seems to have disappeared.
In the background there is some mysterious goings on by a secret government agency led by Martin Brenner and this agency has a connection to Eleven. Brenner's G-Men will use any means necessary to get her back to the laboratory.
This may all sound a bit convoluted but the actual plot unfolds in a manner that is quite easy to follow. The main characters are slowly introduced so you get a good handle on who is who and how each of these people relates to one another. As the episodes tick by you learn more about each person and the development of the main cast is handled very well indeed.
I feel it is best if I approach this slightly differently to normal as there are a lot of characters involved in this production. So I am going to work through them group by group or family by family if you like; and examine what were the most interesting moments or traits of each one.
With this approach in mind lets first look at the Byers family who, let's face it, are the main focus of the whole story. Will himself only has a small part to play. Noah Schnapp who has this role is very good at portraying the fear and dread felt by a boy scared out of his wits. In fact it is fair to say that in the vast majority of cases the casting director got everyone spot on for their parts. There is hardly anyone who seems out of place.
Elder brother Jonathan played by Charlie Heaton is the quiet natured outcast often seen in high schools. Most view him as a freak but straight from the off you can tell that Nancy Wheeler has a different opinion of him. The brotherly relationship shared between Jonathan and Will (shown in flashback) is one of closeness and caring; it is easy to see they both have a lot of love for each other.
One of the things that have probably helped to bring these siblings close together is the separation of their parents Joyce and Lonnie. Joyce has been left to bring up her boys pretty much on her own as Lonnie has moved away from town and basically washed his hands of family responsibilities.
You get a sense that one of the defining factors in the breakdown of that relationship has a bit to do with the mental health of Joyce. Winona Ryder imbues Joyce with a manic, unhinged presence. This is a woman on the edge; who seems to be one step away from becoming a nervous wreck. Now Will's disappearance does have a lot to do with this opinion but you can see that this event has just clicked her mental anxieties up another gear.
What is refreshing is that Joyce recognises that she is a little crazy and keeps telling the people around her that she knows she sounds like she is losing her grip on reality. Her reactions you feel would be normal for any parent feeling frantic when their child goes missing.
Through all this she does still maintain some semblance of self-preservation; none more evident than when she first gets an inkling that something from beyond our realm could be involved in the mystery. Her first instinct is to run which shows that below the surface she is still quite a sensible person.
This encounter actually triggers some calmness in her as she starts to realise she isn't clinging to some crazy notion of where Will has gone. Joyce starts to settle down from this moment and her behaviour becomes more rational once someone else also believes that for all her crazy antics; she might actually be correct in her convictions.
Even at her most vulnerable moments though, Joyce is still able to show the inner strength that she has gained from being an independent parent. I love it when she stands up to Lonnie who has come waltzing back in during this crisis and tries to throw his weight around. During this confrontation you can see Joyce for the loving, caring mother she is. Lonnie is well and truly put in his place as Joyce shows just how well she knows her children and clearly points out that Lonnie doesn't have a clue about either boy.
All the way through Joyce has this belief that she will find Will alive and there are only a couple of moments where she seems to waver in this opinion. At one stage during her investigation with Hopper she realises that it could take years to uncover the truth. It is here that you first see her convictions falter a little and near the end of the series we see this happen again.
It is a credit to Winona Ryder's performance that she is able to wring all these different emotions and nuance out of her role. The arc her character goes on from the start to the finish is probably the biggest out of all the cast; with the possible exception of Eleven who I don't want to discuss too deeply as she is best left to be discovered as the show unfolds. It was only on my second viewing that I got a true sense of just how far she had come during the season.
I mentioned Jim Hopper teaming up with Joyce to investigate Will's disappearance. It is probably more accurate to say that at first Hopper is reluctant to involve Joyce and wants to conduct the search solely with his fellow officers. Circumstances soon change his opinion as he starts to believe that the wild theory Joyce has might be true.
When we first see Hopper you get the impression that he is a man about town who likes to drink and mix with the ladies. There is no sense that this is an officer who takes his job seriously; instead you immediately think that this is a small town cop who is bored with the monotony of all that being a small town cop entails.
These reservations are soon dispelled as it is quickly established that Hopper is a more than capable policeman. He is a no nonsense guy too; willing to step outside of the law if it is going to help him get to the bottom of the case.
Hopper has his own history compelling him to solve this crime as he too knows what it is like to lose a child. This plays a big part in his motivation and also plays into the overall story. There is also a sense, although not explicit, that there is possibly a bit of history between Hopper and Joyce of a romantic nature.
Both of these are issues which he hasn't fully come to terms with or is willing to address; particularly what happened to his child and how that affected his life. It makes the anguish he feels later on when he is in the morgue all the more poignant as you can tell what emotional turmoil he must be experiencing.
There are also some great moments of humour from Hopper. As mentioned his no nonsense approach creates a few giggles but my favourite has to be his reaction when he first goes to see Joyce knowing she is onto something and he walks into the house and sees all the Christmas lights. If they made a television series focussing just on Jim Hopper's case files I would definitely watch it because he is such a badass.
Central to the plot and the family who are closest to the Byers are the Wheeler family; consisting of eldest child Nancy, her brother Mike, baby Holly and their mother Karen....and some guy who plays the dad but is barely heard from. Actually Ted Wheeler is pretty amusing; he gives off the impression of one of those fathers who just wants to go to work, have a beer and come home to his wife and 2.5 children.
It is in Mike's basement where the four boys; Will, Mike, Lucas and Dustin, spend their free time playing Dungeons & Dragons and discussing Star Wars and all those other things that twelve year old boys loved to do back in 1983. They are like The Four Musketeers; inseparable; dependant on one another and completely loyal.
Mike is the main instigator in getting Lucas and Dustin to go along with him as he is determined to find out what has transpired with Will. After coming across Eleven in the woods they soon realise that she might be a key factor in helping them locate Will and accept her into the fold.
The budding relationship between Mike and 'El' is very cute to watch and thankfully handled in a manner appropriate to the age of the characters. The way both Dustin and Lucas acknowledge having a strange girl in the group is also written realistically; one thinks it's cool, the other not so much. You can see by the way each of them reacts to whom and what El is; that these boys are all comfortable with expressing their opinion to each other without cause for concern or ridicule.
One of the major strengths of the show is just how well these kids all interact with each other. The camaraderie and bond that they share is onscreen for you to see. More important than the friendships they share is that they each act like children. The logical conclusions they come to are the sort of leaps that kids would come too. One example is how Mike comes up with a way for El to introduce herself to his parents and you can see how he came up with the idea because it would be normal for a child to think this way. The other strong point is that none of these child actors are annoying; there isn't one written simply to be comic relief and neither of them makes you cringe with their behaviour.
Now getting back to the other two Wheeler's who play a role in the show let me focus for a moment on how much I enjoyed Karen. Cara Buono, who is a veteran of television, is wonderful in a small role. Normally such a character would be dismissing of her children or not as sympathetic to their needs. Karen is the complete opposite. She tries to connect with Nancy when she can tell something is bothering her; she provides solace to Mike when he needs it and overall I was so impressed with what Buono did with the part and how original this characters perspective felt.
Nancy is our connective tissue to Jonathan. She is trying to start a relationship with Steve Harrington who seems to be one of the popular kids at school and Nancy isn't in that category. There is a mutual attraction and romance soon blossoms. Opinions vary greatly when it comes to Steve and your view of him will probably change from one episode to the next as it did with me. Overall I did end up liking him greatly; he might be a bit of a douche to begin with but he did redeem himself come the series finale.
Once again the writers do something to reinvigorate what could have become a stereotype. Steve's attitude towards Nancy the day after his party is one example that takes you by surprise as you are expecting something completely different from him. His final gesture with Jonathan is another example of how this person can surprise you.
It is interesting how Nancy does seem to behave in a different manner around Steve and it is picked up on by both Jonathan and her best friend Barb. They can see that she isn't being her normal self and what person hasn't acted differently to gain the attentions of someone they like?
One relationship that is clear for all to see is the way both her and Mike have that sibling love/hate rivalry. As the older sibling she wants her space and neither is happy when Karen suggests they need to stay close together. This is amusingly brought up by their father later on when he laughs off the suggestion that Nancy is with her brother of her own volition.
The difference between her relationship with Mike and that of Jonathan and Will is shown in stark contrast when she proves she has no idea how to contact Mike but Jonathan does. In this moment you can see that she realises how much Jonathan cares for his brother and how neglectful she has been towards hers. This leads to a beautiful tender scene between Nancy and Mike later on when they both agree to tell each other the truth only to then immediately break that promise by both telling a lie. It is one of the best whimsical moments of the series.
Nancy approaches Jonathan with the evidence that brings him to the conclusion that perhaps his mum isn't as crazy as he thinks. The two team up to search for both Will and Barb who has also vanished by this stage. No one seems as concerned about Barb's whereabouts except for Nancy who doesn't believe the explanation regarding her friend's disappearance.
That attraction between Nancy and Jonathan I mentioned earlier is played upon further as the two of them start to look into events. Whereas Nancy appeared to be acting different around Steve; you get the sense that she is able to be herself around Jonathan. There was one exchange in particular that highlighted to me that these two are more in synch; when we see that Nancy has swapped her baseball bat for Jonathan's handgun. No dialogue was needed, they each realised which weapon suited them most and got on with it. In another show there would have been a funny quip to accompany this change over; but the writers trust the audience enough to pick up on what is taking place between these two teens.
It would be remiss of me to talk about all these characters without mentioning two of the most important and those are our villains. Matthew Modine plays Dr Martin Brenner the man in charge of the government agents based in the Hawkins laboratory who are on the trail of Eleven. For large portions of the show Brenner doesn't say much and there are plenty of scenes where he doesn't utter a single word. This actually makes him more menacing as you don't know what he is thinking but you can tell that his motives are sinister by nature. I don't think we have actually seen his true motivation either because he is still a bit of an enigma. Does he view himself as a father figure to Eleven as she refers to him as Papa; or does he have cruel intentions? Something I think we will discover more of during season two.
The children come up with the nickname of the Demogorgon when referring to the mysterious entity they believe is responsible for taking Will. This is a denizen from their games of Dungeons & Dragons and is the beast that causes fear in Will when we first see them playing this game. It is only natural that they think of this creature as the thing that has taken Will. In reality it is a very clever use of the name as the Demogorgon is associated with the underworld. They refer to its dwelling as The Vale of Shadows which again ties in to the Dungeons & Dragons terminology. Eventually the Upside-Down will become a part of the narrative which confirms the kids were onto something with all these theories.
Part of the inspiration behind the Demogorgon's design I feel must have been the Slender Man; especially when viewed in shadow which it often is. It also seems to rely on certain senses; I don't think it is capable of hearing judging from the movements it makes. This is all very reminiscent of the creature from Alien.
So we have established all the main players and the three groups of investigators: the children; Joyce and Hopper; and Jonathan and Nancy. Each of these groups I felt had their own defined genre when it came to the approach the filmmakers took in representing their search for Will. The three boys and El seemed to be a kid's adventure similar in nature to Stand By Me or The Goonies. Joyce and Hopper definitely had more of the Sci-Fi element to their enquiries; whereas Jonathan and Nancy instilled more of the Horror aspect of the show. These components are wound together in such a tightly written narrative that neither one feels out of place.
All three of these genres are steeped in 80's nostalgia and the show itself revels in celebrating the early parts of this decade and all of the pop culture related to the era. There are posters for Evil Dead and The Thing adorning various walls; both films the creators are clearly influenced by.
One character asks "Do you guys read any Stephen King" and this is after we have seen a guard reading Cujo. These are nice little nods to the heroes of the Duffer Brothers. Likewise the score has a very strong connection to the sounds of John Carpenter; or Goblin who appear on a lot of Dario Argento's film scores.
Steven Spielberg's ET has a huge influence; the Byers family being a broken home is a standard Spielberg trope. The G-Men are also very reminiscent of the ones from ET; both when viewed out in the open and suited up in the Hawkins laboratory. There is even a touching scene where Eleven has to go out in disguise which reminds you of ET going out for Halloween. I don't want to dwell on all of the similarities or homages that are referenced; this excellent video I found online does a pretty comprehensive job of pointing out a lot of them:
It is fair to say that the Duffer Brothers have created this show with a lot of respect and admiration to what has gone beforehand. They aren't ripping off any of these films or books but have made their own series drawing on the best methods and ideas from these past triumphs. The things they admired have added to the inspiration behind creating something that feels familiar and yet new all at the same time.
The show is not without its stereotyped characters either and they do play upon a lot of tropes that appeared in many of the media that inspired the creators. What they do with these though is use them to their advantage. It is rare that the stereotypes feel out of place; they are there for a purpose to help propel the story.
It is a fine line to play as it would have been very easy to fall into parody but the writing is so good that nothing is wasted and everything is so well thought out. One fine example is when Barb parks her car away from Steve's house when she and Nancy are attending his party. It feels odd at the time and you think it is a misstep; but later on it comes back in and helps the story avoid a plot hole.
It is this attention to detail that really makes the writing stand out. I get the feeling that the original idea the Duffer Brothers had was allowed to gestate until they had all their ducks in a row before deciding to go ahead with filming. I can only commend them for this as it certainly is the shows biggest strength.
I touched briefly on the music and I have to say that I love the score and song choices throughout the whole series. The electronic synthesizer sounds are so reminiscent of the 80's and are perfect for the setting. Add to this the actual songs that are used fit the scenes they are chosen for so well. Take Waiting for a Girl Like You for one of Barb's scenes as an example; or Peter Gabriel's haunting version of Heroes as the police search the quarry. This in particular is one of the best filmed scenes from the series overall and has such a gut-punching impact that you will be wiping the tears from your eyes.
There are a lot of movie making tricks on display. Flashbacks are used and they have a real purpose to the story; such as when Will is shown drawing pictures and discussing different abilities. The flashbacks like these do aid the narrative and aren't here just to help establish a person's history. There are great transition shots, often triggered by something that is happening to Eleven; a coke can on television moves us to the Hawkins lab and her previous experience with a can of soft drink. In the same vein she hides in a wardrobe and it morphs into a scene of her in a similar enclosed space. Once again we are seeing just how well put together the overall story has been planned and I reiterate nothing that you see on screen is wasted; it all has meaning.
As well as the fancy techniques there are some quality character moments that get to the emotional core of the person. Eleven having a real adolescent experience and seeing herself as a pretty girl for the first time is truly a lump in the throat occasion. It is also touching when Dustin is discussing his friendship with Mike and the way he reacts to what he is hearing is just lovely. Probably the one set piece that really got to me was between Joyce and El and it was simply a hug from a parent who recognises that a child needs comforting. It made me realise it was probably the only moment of genuine tenderness that Eleven has experienced so far in her life.
The show might be a mystery solving crime story about a missing boy and it might have monsters, secret government organisations and strange realms; but more than anything else it is a story with a lot of heart and one that shows the love shared between friends and family. For my way of thinking this came shining through and was one of the main reason I fell in love with this debut series.
The Case Against:
My issues are mere annoyances more than glaring problems; after all I have stated how well I thought the series was scripted so I would be really surprised to have taken umbrage with the story. One of the things that I can see wouldn't be to everyone's taste is the 80's setting. The 80's is a decade often derided for bad fashion and the height of cheesiness and it might grate on some people.
There seems to be a lot of people split down the middle in their evaluation of Joyce, in particular Winona Ryder's performance. I will admit that at first she does come off as a bit too hyper and my first impression was that I don't want to listen to her in hysterics for eight episodes. Thankfully as I have said she does calm down and gives a more balanced performance but I can see how she would have put a lot of people off from the way she acts when we first meet her.
I had more of an issue with her ex-husband Lonnie than with Joyce. I know Lonnie isn't a major character so they didn't need to develop him too much. He let me down the more screen time he received. At first I thought he was going to be the Dad who didn't really want to leave but no, he turned out to be the douchebag everyone expects him to be. It would have been great if they could have worked on that small amount of nuance that was hinted at just a little bit more.
Now I love Hopper but I am afraid out of everyone he more than all the others did things that affected my goodwill towards him. The first thing and it is only a minor thing that I hate every time I see it onscreen, is when he leaves his home and fails to switch off the television! It is one of my pet peeves and it always, without fail, makes me think the person doesn't care about their electricity bills.
One of the very few times I thought the writers made an error was when Hopper tells one of his associates his phone is out of order, only to proceed later on to call his ex-wife. It might have been to keep his partner out of his home, but that wasn't explicit. I know he is a badass but I also have a hard time believing that he could have taken out three operatives single handed without making enough noise to alert the others before he got to them. These are petty nit-picks I know.
There are larger parts of Hopper's arc that I had further issues with. Hopper losing his daughter is probably the worst of all the tropes the writers used. I didn't feel the script needed it. His backstory of being a big city cop now working in a small town was sufficient enough. They could have played on his unconcerned, devil may care attitude. He feels this way because nothing ever happens in Hawkins that compares to his time living in the city.
I know that his loss gives him the motivation to want to find Will alive because he can understand what Joyce is going through but his role as a police officer and having the chance to do something with meaning should have been all the reason he needed. This brings me to the Hopper flashbacks that occur in the final episode. While I can appreciate their inclusion because of what they are telling us; I thought they only interrupted the flow of the episode which took away from the overall impact of the finale.
Some of his choices at the end of the show are also baffling and seem out of character. Without trying to spoil things I had a hard time reconciling some of his decisions when compared to the behaviour we had previously seen him display. I can only put this down to Hopper feeling he had no other choice if he was to achieve his goal. There is an indication that this will be addressed in season two and I hope so.
Out of all our main characters the only other ones that caused some eye rolls were the triumvirate of Nancy, Jonathan and Steve. It was more so with Nancy and Jonathan and most of my problems happen in episode five. There were two key points that annoyed me and both are because we see them far too often in horror.
The first was Nancy and Jonathan separating from one another as they follow a bloody trail in search of the Demogorgon. The minute they do; you just know one of them is going to come a cropper. This action was redeemed in the following episode when Dustin asks Mike and Lucas if they remember what happened in 'The Bloodstone Pass' when they separated; which reflects their closer camaraderie and hints nicely at the bloody trail. So I forgave this faux pas on reflection.
But I could not forgive Nancy for stepping on a twig when trying to be sneaky. Of all the worst horror tropes included in this setup; this one by far made me groan at the TV screen. Admittedly it left the episode on a cool cliff-hanger but come on, don't resort to common conventions guys!
My other gripes are to do with this trio's interaction with the Demogorgon itself. There is a huge leap of logic from Nancy when she concludes that blood attracts the Demogorgon. I might have missed it, but I can't remember a moment when this became apparent to anyone. If I did miss it then I apologise and will stand corrected.
Steve freaks out the first time he sees the Demogorgon and I appreciated his reaction; it seemed natural. However he quickly regains his composure and rushes to the rescue. Now if that was me I don't think I could have recovered that quickly and come to the aid of someone who I was recently in conflict with and a girlfriend who Steve thinks might not be as into him, as he is into her. It would have been hilarious if he just kept running and left them to it!
I feel I have to mention this as it bugged me the whole series and I hope it doesn't offend anyone; but will the catering department please make sure that Natalia Dyer eats a sandwich or something next season. I seriously felt concerned for her health; there is no meat on her at all.
There are a couple of things I want to bring up about some of the minor characters. I know there is a lot of love for Barb and I really hope that they resolve more of her story in season two. It perturbed me how the only person who seemed bothered about her disappearance was Nancy. There was hardly any investigation into Barb's disappearance. In a small town people should know that she just wouldn't up and leave and this sort of behaviour is out of the ordinary for her. I would have expected there to be more of a connection made between Will and Barb from the police. Even though Hopper isn't as present at the station at this point; at the very least Powell seems capable of these logical connections; Callahan on the other hand maybe not.
I will be honest and say that I hated Callahan and it annoyed me immensely that they called him Callahan too. He is such a douche. He doesn't seem smart enough to be a cop; he is so stereotypical of the country hick officer. Most of all he is so insensitive nearly every time he speaks. Callahan offends Nancy when discussing Barb; he hits a nerve with Hopper when he talks about Joyce but worst of all is his attitude at Benny's.
It troubled me greatly what takes place with Benny; I didn't think there was any need for this course of action from the government agents at the time. What do they stand to gain; all they are doing is drawing more attention from the local constabulary. Callahan's attitude is far too flippant when he makes comments to Hopper and I liked how Hopper's response kind of put Callahan in his place. I could well imagine Callahan being the sort of person who enjoyed peeling the wings off of flies when he was a child!
Moving from one person who doesn't seem too bright to one who is; I do very much like Mr Clark. He is an awfully smart teacher and is far too well read for someone teaching middle school. His interactions with the boys is nice but it is very convenient how he always has a solution to their problems. Clark's character helps to move the story along as he is often used to provide an explanation to help answer some part of the plot the viewer might have questions about.
I have said how much I admire Cara Buono's performance as Karen Wheeler but come on; surely she must visit the basement on occasion. How can Mike get away with hiding Eleven down there without his mum needing to go get something from downstairs?
I save my last criticism for the Demogorgon and the nods to Aliens afforded it. In Aliens we see victims trapped in a nest and when we get a glimpse late on of the Demogorgon's lair we see a similar situation. I felt this came out of leftfield and was a little bit shoehorned in for my liking. There is no hint as to why the Demogorgon acts the way it does so I am hoping that this is all part of the set up for season two. Until then I will reserve judgement on this final twist in the tale.
Verdict:
If only I was twelve years old and friends with these kids. I too could then battle Demogorgon's in the Upside-Down. Instead I will have to console myself with endless re-watches of this marvellous show.
