In 1987 Wim Wenders hit the international consciousness as a writer/director with Wings of Desire… a tale of isolation and revelation with the backdrop of the Berlin Wall as metaphor. And then, in 1989, the wall fell and the world changed. In 1993 Wenders revisited his characters in this new reality with this award-winning, if not as successful, sequel.
Wings was a wonderful film…after the first 20 minutes of philosophical setup. You can argue that the extended prologue was necessary, but it honestly kept the film from taking flight, which it did once we really got to Earth and let the story go. Faraway is structured much the same, but with even more philosophical musing and exposition (45 minutes). This time, however, the discussion is set amongst the world and it sets up a lot of the movie’s ultimate action. Of course, that isn’t clear for a long time and is, perhaps, one of the more surprising aspects of the film. A lot of very disparate threads and seemingly tangential moments all come together for the final sequences in some very unexpected and, in one case, hysterical ways.
All of the main characters from Wings return: Otto Sander (from a personal favorite: Killer Condom), Bruno Ganz (The House that Jack Built), Peter Falk, and Solveig Dommartin (Until the End of the World) to bridge the stories. However, other than Sander, they are all secondary to the new plot. Part of what makes this film so clever is that it really is a new story, even though we get to see what happened to those who were the focus of the first.
The new people in this tale are rather surprising…Willem Dafoe (Motherless Brooklyn) and Nastassja Kinski (Cat People) join the story, and there are even small roles for Mikhail Gorbachev and Lou Reed. Which brings up the soundtrack…loaded with Reed and other period greats. It doesn’t have the staying power of Until the End of the World’s soundtrack, but there are some interesting surprises in it.
Though Faraway is a direct sequel in many ways, I’m not sure you need have seen Wings of Desire first. I think the relationships and returning characters get explained enough. However, you’ll definitely have a different experience if you see them in the intended order. But Faraway is, ultimately, a better crafted film, if a little overwrought at times. It is a worthy sequel and cleverly crafted. But it is, in every sense, a very European film of its time. It is slow to build momentum, highly intellectual, full of poetry and grand gesture, and not quite reality, though very down to Earth (literally) in its grounding. If you enjoy Wenders’ work or just want to see something with very different pacing and approach than today’s hyper-kinetic fare, this is an excellent, if long, choice.
Honestly, I don’t know whether to be excited or infuriated by this latest series. There are so many possibilities and answers and openings, and yet it was executed a bit ham-handedly and, ultimately, rushed.
Jodie Whittaker (Broadchurch) continues to grow her sense of the Doctor…and does so with aplomb. Our intrepid companions are evolving, though they have been pushed more to the side as the Doctor has gained confidence and energy. The dynamic of the foursome isn’t always smooth from a story point of view, but they all work well together. I think when Chibnall really gets a feeling of the reins, he could equal Davies first few seasons. But first he really has to get some guidance on what building an arc really means.
This season is very reminiscent of Moffat’s disastrous series 8 as show-runner; fractured and confused. Though I think Chibnall’s overall quality is significantly better than Moffat’s awful season. But Chibnall has struggled with the overall arc and flow. He also allowed the series to get “in your face” preachy about too many issues. The ideas, and even presentations, were fine, but the expositions were painful. The same ideas could have been imparted without stating it all out in detail. In other words, he didn’t trust his audience enough. Even kids would have understood the implications without the pulpit speeches. At least, I do think Chibnall has the sensibility of Dr. Who correct (unlike Moffat much of the time). I just wish he’d be a bit more Torchwood and a bit less Saturday morning kid’s show.
Overall, it wasn’t an unengaging season, and it has some things to chew on, but I’m hoping next round will have more control and shape.
And now, the play by play as the series aired, if you want to understand how I came to these statements.
By the episode (with spoilers):
Spyfall (parts 1 & 2) As a sendup of Skyfall, this Bond-like episode has a lot of fun and opens up some new avenues. However, I missed not having a stand-alone holiday special rather than just launching into the 12th series. In part I was also very, very frustrated with the revelation of the big bad. Not that Sacha Dhawan (Iron Fist) isn’t entertaining (if not exactly a Master I can get behind quite yet), but I really felt like that thread had been tied up ever so nicely during the Capaldi years. I suppose, however, that Chibnall just couldn’t resist trying to tackle one of the primary enemies and put his own stamp on it. What these episodes brought us, however, was the shape of the upcoming season with the reveals at the end. Was it worth it? I guess we’ll see.
Orphan 55 This episode starts off interestingly, but devolves into the worst kind of preachy science fiction that just doesn’t work well. Surprising as Ed Hime wrote one of the more challenging episodes from the previous season, It Takes You Away. It’s a shame as there were missed opportunities and, certainly, some fun riffs on Damnation Alley that could have taken the story in different directions. For instance, what if the Dregs were the results of virus infected terraforming tech that Kane was using. But, as it is, it’s one of the weakest episodes they’ve had a in long while. At least it was well directed and acted. And it was fun to see Laura Lane (The Loch) and Lewin Lloyd (Judy) in some different roles. Perhaps this is the one really weak episode this season (there’s always one)…and we’re getting it out of the early rather than late.
Nicola Tesla’s Night of Horrors
Well, I’ll give them this, Edison was portrayed at least a bit like the ass he was. The episode as a whole was OK. It’s another high octane, hand-wavy adventure in history, though this time on American soil with Goran Visnjic (Beginners) and Robert Glenister guesting as Tesla and Edison respectively. Fun, sure, and nice to see Tesla sort of get his due. it was also somewhat clever (and perhaps disingenuous) that Who elevates his ideas, even if the tragic aspects of his life remain.
I do have to wonder, after setting up the larger arc in the first episodes, why have we not even touched on it again yet? There aren’t that many eps to play with so waiting seems like a bad idea to me.
Renegade of the Judoon Now this is what I’m talking about! This was the best and most complex episode of the season so far. It picks up the opening mystery and explodes it with two major reveals of multiple time lines and the delightful return of John Barrowman’s Capt. Jack Harkness. As a mid-season pivot, it’s wonderful. Why they dropped the thread for a couple eps escapes me as there is clearly a lot of material to work with. The mysteries should have at least been tagged into the intervening episodes to keep it more alive. But we’re here now…hoping the momentum continues and it’s a sprint to the finale.
Praxeus Really? They couldn’t just keep focusing on the main thread? We had to have yet another “we’re destroying the planet” PSA? And, by the way, they’re getting a bit much and far too preachy in the writing. I know this is aimed at kids, but they’re smarter than the script allows for as well.
The episode is definitely an energetic and entertaining one. It even brings in Warren Brown (Good Cop), who gets to recap a lot of his characters in this one, but with some nice twists with the help of Matthew McNulty (The Paradise). But we just left off a huge revelation and there isn’t even a hint of that in this story. There are only four episodes left and a hell of a lot to wrap up. Chibnall needs to get a better grip of his seasonal arcs and learn how to weave a whole cloth.
Can You Hear Me? This fast-paced and energized adventure is great fun and sets up…something. Not sure what yet, but I don’t think this will be the last we know and see of these newest “monsters.” But the story is almost entirely off thread from the main series arc. At least it certainly appears to be stand-alone. What is clear from this episode is that we’re headed to some sort of change-over in, at least, the companions.
The Haunting of Villa Diodati OK, here we are again with another view of the night Frankenstein was created (the most recent being Mary Shelley). Admittedly, this is a fun and unique use of that infamous (though more likely apocryphal) night. And it gets us back on the main arc…though with more questions than answers by the end.
With only two episodes left in the series, and the stakes and issues all finally at the forefront (although a continued aversion to discussing Jack or the other Doctor), I certainly hope they are both about wrapping all this up. This particularly story is fine, but because of the many recreations of this night, the trappings frankly felt a bit tired to me despite the creative concepts.
Ascension of the Cybermen
Talk about a long lead. Finally we are closing the loop begun in the first episode. This is an action packed story that raises the horror of the Cybermen another notch. While not an official two-parter, the resolution won’t come till next week’s finale. Frankly, not much really happens in this episode other than some adrenaline-based setup and the pulling in of at least some of the open threads. Mind you, there are still far too many left untouched, but I suspect that will change. I just hope the final episode of the series is super-sized so they don’t have to rush the resolution or, worse, leave it unresolved until the holiday special or next season. In other words, this was a fun and exciting episode, but not a complete or satisfying one on its own.
The Timeless Children
As I feared, this episode ended up rushed and, ultimately, open-ended. That said, at least we finally have an answer to Matt Smith’s regeneration from a few seasons back (that infamous number 13) which was never explained. You can buy into that or not, but at least Chibnall has attempted to provide an answer without shattering the canon. However, the depiction of The Master here, both by Sacha Dhawan and as written, is just over the top and weakly supported…and it flies in the face of the most recent incarnations. Sure The Master was always a bit off his nut, and a lot of that was due to his personal competition with The Doctor, but it needed more foundation and explanation throughout the series to get him onto a new path. And the one thing this episode never explained is how The Master survived the end of last season.
And, finally, the tag was more than a little angering. While it pulled back in aspects of the opening episode nicely, it leaves us utterly hanging at least until much later this year (with a possible special). I would have much preferred a conclusion and then a bridging special with tag into the 13th. It felt like a desperate attempt to get folks back after a mixed-result series.
Tis the killing season again. And by that I mean the return of four mystery series who continue to prove it is almost impossible to depopulate small English villages (or even cities or small islands) no matter how many people you kill off.
What they all have in common this year, despite being spread across different decades (70s, 2020, 60s, and 2020 respectively), is that they are all shaking up their formulae to bring a fresh energy and potentially purpose into their series.
Endeavour is moving in earnest to close the gap to Morse. Continuing to build on the previous round, they literally have him building the home we got to know Morse in, while also finally turning the corner on his personality. Endeavour is starting to show that Morse cockiness and total lack of self-awareness when it comes to women…which they’ve played with, but we are finally meeting the woman that broke Morse permanently. DS Strange has taken a step forward toward the character we know from his future, as well. Neither leap is completely clean…it feels like we missed some steps…but the shift is a necessary one if not a fluid one. This is also a much shorter season than previous, with a single arc pulling together three episodes. The cost of the show and the age of the bridging actors is making that a necessity…and with only a few years to go before Morse would abutt the stories, you can see the acceleration in their plan.
Vera remains at four episodes, but our dear Brenda Blethyn is getting crankier and more brittle this year. Not that she was ever a total teddy bear, but there is an edge and weariness starting to creep into Vera and I’m feeling like they’re headed toward wrapping her up or handing off the show in the not too distant future. In the meantime, the mysteries continue to be nicely complex and full of human foible and foolishness.
Grantchester has moved fully into its new phase with its new priest. A number of the original struggles remain, but with Tom Brittney owning the whole season for the first time, they have a different foundation. And while he has his own personal demons and challenges, there is something a bit less soapy about it all. That aspect has been load-balanced onto the rest of the cast in some interesting ways. By the end of the series, we’ve entered into yet another new phase for the characters and the show. Grantchester is one of those rare series that has managed to weather a complete shift in the driving core of the show while hardly changing at all. It really is a remarkable thing to examine as a writer. As a viewer it simply keeps it all familiar and yet still fresh.
And, finally, Death in Paradise is the odd outlier here in format. Primarily a cozy with a lot of comedy, it still has plenty of murder and mayhem on St. Marie. And while evolution has been part of its bones from the beginning, with a series of detectives and police staffing, it has approached the rhythm of this series differently than previously. More importantly it’s starting to shift the focus onto the St. Marie police force from the English interlopers…at least in part. Of the shows discussed here, Death in Paradise is by far the lightest fare, but it is definitely trying to stretch its muscles into some new areas and breadth of action.
Before 300, who would have ever pegged Gerard Butler (Hunter Killer) as the leader of action franchises? Since then he’s done a string of entertaining, but not particularly good, films. And this particular series is as uneven as they come. Olympus Has Fallen was surprising…but its sequel was just awful. However, it made enough to bring us this threquel, which is somewhere between the two in quality.
There are some things going for this story. First, embracing its aging lead and recognizing that a job that involves as many explosions and physical contact as Butler’s has a deteriorating effect on the body. Also, there are some great moments peppered throughout and, perhaps best, the relationship and by-play with Nick Nolte (A Walk in the Woods).
Unfortunately, these tidbits of good are bound together by some of the weakest mysteries, worst logic, and bad writing I’ve seen in a major in quite a while. Poor Jada Pinkett Smith (Magic Mike XXL) is saddled with a character that put the “feeble” in FBI. And Tim Blake Nelson (Just Mercy) is about as credible as a hedghog as the vice president.
Part of what worked against the movie is that its effects and stunts are top notch, making the B-grade script and story show its warts all the more. So, whether you see this one has to be up to you. I’ve seen worse, but I’ve certainly seen so much better. The script is so insulting to the audience that you need to disengage, yell at the screen till you’re too tired to continue doing that, or turn it into a drinking game. Choose your approach carefully.
After 17 years, have the boys still got it? Well, yes and no. The story by trio Chris Bremner, Peter Craig (The Hunger Games: Mockingjay), and Joe Carnahan (Death Wish) is full of the humor you expect, plays on the fact they’ve aged considerably, and after a slow first half, finds its groove and ultimately delivers. And directors Adil & Bilall navigate the cast through the odd humor/action/bromance nicely. That rocky start is my reason for the equviocation.
But this franchise survives on its core team: Will Smith (Spies in Disguise) and Martin Lawrence (The Beach Bum). Smith is having a busy year. Starting with Aladdin, then the technical marvel of Gemini Man, and now a solid return to his earlier days here. The two still have their interplay…that odd broken rhythm that shouldn’t work, but somehow does…but they’re joined by some new and returning folks to help reinvigorate their ageing world.
On the new side, Paola Núñez (The Purge), Alexander Ludwig (The Final Girl and the unrelated The Final Girls), and Vanessa Hudgens (Second Act) really stood out. Each brings a new kind of energy and humor to the story, giving the old guard something to play against. And Kate del Castillo provides a big bad who is up to the task, if not a little off her rocker.
The plot is, of course, a bit extreme, a bit absurd, and wholly unlikely, not to mention utterly forced at the end. But you don’t go for high literature to this series. You go to Bad Boys for the action and humor, and it manages to retain both nicely. If you liked the original two, you’ll enjoy this latest addition (and its forthcoming sequel which is already in the works). And, should you go, stay for the tag scenes through the first minute or so of the roll.
OK, let’s be honest, the first Angry Birds movie was awful. I only came back for the sequel because there was something about the trailer that gave me some hope. And it wasn’t unwarranted, though it wasn’t fully rewarded either.
The first movie tried to leverage the game that spawned the characters far too much. It was a confrontational movie between birds and pigs, and creepy and unsatisfying on many levels (not to mention a really bad script). But they learned from those errors.
This sequel is more about “pranks” between the birds and pigs (rather than omnivorous emnity). The plot requires them to work together. The humor has a lot of levels, from the slapstick to the more subtle. And the main characters have some arc to them.
Don’t misunderstand, this is still children’s fare to be ingested with lots of sweets or popcorn, but it isn’t a painful affair to spend time with. It’s simply a silly distraction stacked with an impressive voice cast list (though nothing worth calling out). Up to you if you want to spend time with it or simply need to distract some youngsters while you do something else. Either way, it was nice to see that they learned from their errors and put more creativity into this sequel.
The first Toy Story had surprise going for it, both technologically and in the script. But I never found the series all that gripping or effective. However, this installment and (one hopes) resolution to the tale of motley toys is the best all around. Like the previous movies, it takes on adult themes beneath the surface of the silliness, but this script is richer and more subtle as it tackles growing up on several fronts.
It’s an even more impressive feat when you realize that it’s director Josh Cooley’s first feature and that the script and story had 9 different sets of hands stirring the pot. For a cohesive and interesting story to come out of that stew of sensibilities is pretty amazing, even if several had been involved in the series over the years.
There is also a huge list of voice talent involved. Many retuning voices will be familiar, as well as some new ones as guests. I’m not going to laundry list them all and, frankly, no one really stood out as brilliant. They all serve their purpose, which is the most important point.
This is the first of the series I actually recommend whole heartedly. It is certainly in contention for awards this year, including the yet to be announced Oscars. And, for a change, I agree it should be.
I know others have gotten out there before me, but I really hate writing up a show before a season is complete. There are just too many chances for a series to go off the rails after a great start. And with Watchmen, I was holding my breath as it started strong and just kept improving as it went…at least until the very end where it, perhaps, lost just a tad bit of steam wrapping it all up and prepping for what’s to come.
This series grows naturally out of its birthing material, without leaving behind the graphic novel or the movie. It does it without forgetting or forgiving what came before, which is a real gift. Those who love the original find all kinds of touchstones while those that are new to it sense the depth of the world and its underpinnings.
Regina King (If Beale Street Could Talk) is a powerhouse and full of complications. Her story and journey hold together the entire series. But she isn’t alone in the tale.
Some of the most interesting characters arrive later in the sequence. Jean Smart (Legion) and Hong Chau (Downsizing), for instance. And Jovan Adepo (Overlord) as the younger version of Louis Gossett Jr. navigates a world of levels.
Jeremy Irons (Red Sparrow) gets to play alongside the main plot for more than half the sequence before having direct impact. And with Sara Vickers (Endeavour) and Tom Mison (Parade’s End) supporting him, the trio have a wonderful plot of their own that is loaded with humor and horror.
This is a wonderfully constructed world, unafraid to go where it must. The story is both familiar and topical without having to be completely obvious. Well, not always anyway. And it manages to treat time and flow in a way that will surprise and even insist you go back and rewatch to catch everything; taking on some of the same challenges as Legion, but in a more grounded way.
I am not a huge fan of Damon Lindelof as a writer. But in this case, he took his time to craft something wonderful. It is full of ideas, adult humor, bleak forcasts, and complex characters. I can’t wait to see where he goes with it next. But even if there isn’t more to come (and Lindelof is admitting he has nothing in the pipe to do so), this works as a cycle on its own, with a few open questions to tickle your brain as you consider implications.
Seriously, there is no point in discussing the issues…like lousy editing, weak story, empy music, or the lack of an emotional release after a 42 year committment. You’re either on board for this or you’re not. Nothing I say is going to matter.
Is it ever really possbile to match the excitement and surprise of first movie with a sequel? Admittedly, rarely, though this manages to come close.
The previous installment in this series was itself a sequel, though so far removed from the original that it’s hard to think of them as part of the same series. This latest installment is a direct follow-on of the previous and is, indeed, a solid, new story, but a lot of the surprise is gone. It’s in the title “The Next Chapter.” While this stands mostly alone, it is very much a continuation. To the movie’s creidt, the characters we knew got older and were affected by their previous experience, as well as having acquired some new aspects to their personalities and lives.
The additions of Danny Devito (Dumbo), Danny Glover (The Last Black Man in San Francisco ), and Awkwafina (The Farewell) were a good choice for the expansion, and Awkawafina just adds to her growing cv of fun performances over the past year. And then there is the gift of Rory McCann (xXx: Return of Xander Cage) who does nothing new in this very stock character, but who is always imposing on screen, little or large.
Basically, this is a simple, fun flick that is safe for families while having enough for adults to chew on. It has a lot of humor and, even when it is predictable, it’s executed in a way that makes you smile for the success rather than be disappointed with getting ahead of it all. A lot of the credit for that goes to returning director Jake Kasdan and his work with returning writing duo Jeff Pinker and Scott Rosenberg. That they couldn’t resist setting up the next film, well, I can’t say I was surprised nor was I disappointed. And it looks like the third, which I’m fairly confident will get made, takes it full circle to the original movie that started it all. For some popcorn and holiday distraction that doesn’t come from the Mouse House, you won’t go wrong seeing this one.