TheLittleSongbird Reviews

Umka Is Looking for a Friend (1970)

Very sweet and moving

[10/10 · 21 April 2024]

'Umka is Looking for a Friend' (1970)

Opening thoughts: Absolutely adore the first 'Umka', more often than not Soyuzmultfilm delivered big on charm, emotional impact, beautiful visuals and memorable characters and the first 'Umka' delivered on all four brilliantly. Had no idea until just last week (when recently revisiting Soyuzmultfilm's output again) that there was another 'Umka' outing, 'Umka is Looking for a Friend', and was desperate to see it. Also hoping that it would have everything that made the first so great, it certainly sounded like it did.

'Umka is Looking for a Friend' didn't disappoint in any way. It has every ounce of the charm and emotional impact of the first 'Umka' and has everything that made that as great as it was. Comparing them, they are equally fantastic in their own way while also for similar reasons. It may not be one of Soyuzmultfilm's most ambitious works, one of the ones adapting famous Soviet stories and family literature, ones revolving around pre-existing music or ones that have a political emphasis. It is as said above one of the Soyuzmultfilm efforts to keep things simple and all the better for it.

Good things: Everything. For one thing, 'Umka is Looking for a Friend' looks absolutely beautiful. The traditional animation is very beautifully rendered, the colours and backgrounds are elegant, moving very smoothly from one frame/scene to the next, and the characters move very convincingly. The music accompanies the story very sensitively, the distinctive Soviet style of it is sumptuous and not overpowering.

It's extremely well written too and target audience doesn't come into question. It isn't hard to follow while also not being simplistic, making it ideal for people of all ages. As said, keeping things simple was a good idea as it is a kind of story where any more would have felt too much. It also flows well, when seeing it with English subtitles it's quite poetic and meaningful as well without going overboard on the schmaltz.

The story is immensely charming and tenderly told, there is a very strong emotional core here while not being over-sentimental or too serious. It is also genuinely sweet without being sugary, complete with some very relevant and relatable values. The ending really did have me in tears. All the characters are engaging and have personalities that aren't too thin and are easy to identify with. Really identified hugely with Umka, having been in this situation more than once before, it is not a nice position to be in.

Closing thoughts: Concluding, wonderful, very sweet and very touching.

10/10.

Scooby-Doo! Mystery Incorporated: Through the Curtain (2013) Season 2, Episode 25

The Penultimate Peril

[10/10 · 21 April 2024]

'Scooby Doo Mystery Incorporated' "Through the Curtain" (2013)

Opening thoughts: 'Scooby Doo: Mystery Incorporated' for me was a great show and one of the better Scooby Doo shows, the best and most consistent of the modern ones anyhow. It has a very high number of great and more episodes and not a bad ones, even the weaker ones are still decent if uneven. Memories of my first watch of "Through the Curtain", despite being one of the episodes seen later than most of the show, are vivid and in the best of ways and after watching the whole show on first watch it for me up there with the standout episodes.

"Through the Curtain" is yet another outstanding episode of the show, and sadly it's the penultimate episode. But what a penultimate episode it is. Setting things up for what's to come in the finale and already answering the necessary questions and deepening characters and relationships, in what feels like a first part to a two part finale. It is not just outstanding for 'Scooby Doo: Mystery Incorporated' and for the franchise but it is exceptionally high quality in its own right as well.

Good things: Can't fault anything to fault it really. The animation has plenty of rich detail, colour variety and atmosphere. The music never jars, never sounds dull and has eeriness. The voice acting is spot on, as is the character writing and interaction with no exception. The writing is thought provoking and balances serious, poignant drama, intensity and amusing moments expertly.

Also love the story, which is suspenseful and full of emotional impact with nothing coming over as dull or obvious. The conflict is at its most sinister yet, with Pericles at his most megalomaniac up to this point. Absolutely love how the gang interact, with it being obvious how much they care for each other, and all have come on a long way in their development. A lot goes on but it is not rushed or over loaded in my view, plus it made me excited for what was to come next (and it is certainly well worth the wait on a side note). The voice acting is spot on, Udo Keir for example is perfect sinister casting for Pericles.

Closing thoughts: Overall, outstanding.

10/10.

Alfred Hitchcock Presents: Appointment at Eleven (1959) Season 5, Episode 3

An appointment well worth skipping

[2/10 · 21 April 2024]

'Alfred Hitchcock Presents' "Appointment at Eleven" (1959)

Opening thoughts: Although anybody who hated "Appointment at Eleven" without seeing any other Robert Stevens-directed 'Alfred Hitchcock Presents' episode may find it hard to believe, the series' most regular director (with 44 episodes under his belt) actually did direct some fine episodes. "Our Cook's a Treasure", "The Manacled", "The Dangerous People", "The Glass Eye" and "The Motive" notably. And most of his episodes ranged between at least watchable and good.

This however is a complete and utter mess in almost every way. No episode of 'Alfred Hitchcock Presents' is irredeemable, but "Appointment at Eleven" is one of the few to come very close. When it comes to picking a contender for Stevens' worst episode, this is a strong contender. Yes worse than other misfires of his such as "Shopping for Death", "The Hidden Thing" and "Don't Interrupt", and among the very worst of the entire series.

Good things: There are only two redeeming features. One is the as ever wonderfully macabre theme tune.

The other is the moderately interesting beginning.

Bad things: However, nothing else works and most of the bad things are unbelievably awful. This is one of the few 'Alfred Hitchcock Presents' episodes to have not a single halfway decent performance, an episode rife with embarrassing, amateur hour over-acting. Also, one of the few where one hates every single character in it. The lead is insufferably annoying, the most annoying character of the series since the boy in "Don't Interrupt" and a contender for the most irritating of the whole series. He is also unintentionally creepy and the attempts to act younger comes over as affected.

Stevens directs with no life whatsoever and is well out of his depth, this is not indicative of a seasoned director who had already directed more episodes of the series than any other regular but instead of a failed experiment. "Appointment at Eleven" looks cheap, with a very stock under-budget look. It is very slow moving and very flimsily plotted, with too much of the second half being excessively dragged-out filler.

Moreover, the script is too neurotic, repetitive and too talk heavy, none of it intrigues and parts are even irrelevant. As well as very flimsy and dull, the story has no surprises or suspense with the ending being one that can be seen from miles away. The two feelings felt watching this were annoyance and boredom, two feelings never felt with any of the previous episodes.

Closing thoughts: Overall, very bad indeed. Have been known to not find low rated films, shows, cartoons and episodes that bad, but in this case the panning is deserved.

2/10.

The Pink Panther: G.I. Pink (1969) Season 1, Episode 35

The one with Pink as an army recruit

[8/10 · 21 April 2024]

'The Pink Panther' "GI Pink" (1968)

Opening thoughts: 'GI Pink' is the forty second Pink Panther cartoon and is another very good cartoon. A few previous cartoons did disappoint, namely 'Shocking Pink' and 'Reel Pink', but there were also some truly great ones including 'The Pink Phink'. 'GI Pink' is not one of the best Pink Panther cartoon, but it is still very good none the less, another very solid effort in a pretty strong batch of cartoons up to this stage, and was actually very close to great because of its many good things being so good.

Bad things: It is predictable story-wise and there is little surprise at how things are going to turn out.

Good things: However, it is still very funny stuff, on-screen and off-screen, especially with the grenades and the mines. The bull-dog does bag the very best moments. Predictable the story may be, dull it isn't, the pace is efficient and keeps one interested throughout.

As ever, the animation is kept simple stylistically but it's also very well drawn and the colours are pretty, very much-improved over the animation in the previous cartoon 'Put-Put, Pink' (the animation was rather simplistic in that one). The music is catchy and distinctively jazzy, with the theme tune still having its infectious staying power. It matches well with what's going on and doesn't slow the cartoon down, the orchestration as always is appropriate and appealing.

Pink is cool, likable and funny as you'd expect, the Little White Guy is a good foil and boss and you sympathise with him and the bull-dog is a great character too.

Concluding thoughts: Overall, a very good and funny cartoon though not one that leaps out as one of the best of the ever entertaining Pink Panther series.

8/10.

Alfred Hitchcock Presents: The Crystal Trench (1959) Season 5, Episode 2

Mystery with a moral

[5/10 · 21 April 2024]

'Alfred Hitchcock Presents' "The Crystal Trench" (1959)

Opening thoughts: "The Crystal Trench" is the second Season 5 episode to be directed by the justly coined Master of Suspense Alfred Hitchcock (a favourite since mid-teens), after the very well done and underrated Season 5 opener "Arthur". Did like the idea for the episode on paper, though mixing mystery and morality can risk being disjointed and/or muddled tonally, and seeing the always worth watching Patrick MacNee pre-'The Avengers' was interesting to see.

On the whole, "The Crystal Trench" is a watchable episode, if more for a curio or completest sake if wanting to see all the series' episodes. There are definitely worse episodes of 'Alfred Hitchcock Presents', such as "The Hidden Thing", "Sylvia", "Don't Interrupt" and "Safety for the Witness" when talking about previous outings. There are also much better, such as "Breakdown", "The Creeper", "Lamb to the Slaughter", "Poison" and "The Crooked Road". Of Hitchcock's episodes, "The Crystal Trench" to me is in the lower middle of the road end and that applies for the series in general too. A long way from a disaster, but falls well short of being great let alone a series classic.

Good things: Beginning with the good, the acting is fine with the two leads giving everything they've got and while his character is too on the absurd side MacNee is fun. The photography has some nice atmosphere, likewise with the lighting.

Furthermore, the main theme is as wonderfully macabre as ever, one of the best uses of pre-existing classical music in television. The bookending is amusingly ironic, while there is some intrigue and an interesting twist.

Just wish however that most of what came before it was as compelling. The story is pretty thin, with a few too many relatively uneventful stretches, which does affect the pacing which is dull. The story is also too ridiculous and not much makes sense, with agreed the meeting with the geologist being particularly total nonsense.

Bad things: There is not much of a mystery, and what there is completely lacks suspense and contains few surprises other than the ending. The moralising felt undercooked and didn't feel needed. The script is very bland and lacks tautness, while the beginning confused from trying to keep up with the character introductions. While there is atmosphere and mood in the photography and lighting the sets are phony and indicative of low budget and rushed production.

Hitchcock's direction is disappointingly pedestrian. Didn't find myself caring for any of the characters and that shouldn't have been the case for this type of story. The episode never really develops them and motivations came over as too vague and silly. The chemistry between the two leads could have done with more spark.

Closing thoughts: Concluding, watchable but uninspired and middle of the road.

5/10.

Alfred Hitchcock Presents: Arthur (1959) Season 5, Episode 1

A lot of fun

[8/10 · 21 April 2024]

'Alfred Hitchcock Presents' "Arthur" (1959)

Opening thoughts: Alfred Hitchcock is one of my favourite directors of all time and the 'Alfred Hitchcock Presents' series is a mostly fascinating and well done if inconsistent series. With his seventeen episodes, some are better than others but a vast majority of them are at least watchable. Of the previous outings of his, "Wet Saturday" is to me the one misfire, though even that had a few merits, and "Breakdown" and "Lamb to the Slaughter" are two of the series' classics.

Was personally not sure prior to watching as to whether Season 5's premiere "Arthur" would be good or not. Due to reading beforehand that it was a tongue in cheek treatment of a dark subject, which is not always in good taste when done. "Arthur" turned out to be very well done and entertaining, not coming over as tasteless or trivialising at all. It is a strong Season 5 opener and is a very good representation of the series while not being one of Hitchcock's best episodes.

Bad things: It isn't perfect, for my tastes the opening was a little too over-explanatory.

Good things: Other than that, "Arthur" is very well done. Laurence Harvey is terrific in the lead role, intensely charismatic while not being over-serious and is not wooden. The acting overall in fact is without issue and can't fault the character chemistry, which had wit and intensity. Hitchcock directs adroitly, with the right amount of suspense while clearly having fun with the material.

His bookending is drolly ironic as usual, while the production values are suitably moody and the main theme haunts as ever.

Found little to complain about the writing too, which was wonderfully tongue in cheek in many places and darkly warped in an amusing way in others. The episode never felt dull and is a rare example of how to make such a dark subject funny without veering into distaste. The ending is suspenseful, clever and a complete surprise as well as surprisingly amusing.

Closing thoughts: In conclusion, liked it very much and surprisingly so.

8/10.

The Blue Racer: The Boa Friend (1973) Season 1, Episode 9

Love vying

[5/10 · 21 April 2024]

'The Blue Racer' "The Boa Friend" (1973)

Opening thoughts: 'The Boa Friend' is one of the change of pace cartoons in the Blue Racer series. Namely because of the beetle not being here, and generally any Blue Racer cartoon that didn't have that character was already a better cartoon. Here is one of the times where he vies for love and tries to attract the opposite gender, another not novel premise for animation (actually it's one of the oldest in the book) but different for the Blue Racer series that mostly sees him getting outwitted by other characters with no chance of winning.

Have always found 'The Boa Friend' one of those mixed feelings cartoons. It is a middling effort for the Blue Racer series, not one of the best ('Blue Racer Blues') or one of the worst (most of the first six cartoons). It was nice to see Blue Racer in a different scenario for this point of the series and he is easy to root for here, but 'The Boa Friend' would have been a better cartoon if the supporting characters appealed more and if the premise was more buyable.

Good things: Quite a number of good things can be seen here. The colours are vibrant and there is some nice character animation on Blue Racer. Doug Goodwin's music has its usual vim and charm, with a memorable main theme accompanying the well designed opening credits, and the bee's song is catchy without being annoying, thanks to some nice variety in the suitably wise lyric writing.

Blue Racer has come on as a character, he is one note but he has a lot more personality than he did in his first five cartoons. Up to a point, he is rootable. The bee is suitably wise and benevolent and while his role is not large Homer's foiling amuses. There are some nice amusing lines and the voice acting is fine.

Bad things: As said though, the premise didn't work. Not because of it being unoriginal, which it is, and lacking in surprises, which it is. Just found it hard to buy, in order to buy it his love interest would have had to have some degree of appeal and been one where one can see what he sees in her. That is not the case with his love interest in 'The Boa Friend', she came over as annoying and shallow and her appeal was lost on her other than her being pretty.

Gags are too few in my view and they are not particularly amusing and are quite stale from being used and reused elsewhere. The story starts off decently but feels repetitive and over-stretched on top of not being believable premise-wise. The ending is too cruel and comes out of nowhere, everybody other than the bee coming off badly and my sympathy for Blue Racer went at this point too.

Closing thoughts: Concluding, watchable but nothing special.

5/10.

To Catch a Halibut (1978)

Mediocre catch

[4/10 · 14 April 2024]

'To Catch a Halibut' (1978)

Opening thoughts: Not all DePatie-Freleng's output is below average or bad. In fact, the 1960s Pink Panther cartoons (and some of those from the early 70s) and the Inspector and Ant and the Aardvark theatrical series were very good and excellent at their best. And the Roland and Rattfink and Sherriff Hoot Kloot series, while uneven, had their good moments. So on the whole, generally the output was the opposite of bad, even if it declined quite badly in the mid-70s.

The Misterjaw theatrical series is one of the studio's weaker theatrical series, with none of the 34 cartoons being awful but also none of them good, the flaws being the same in every cartoon. It is not as bad as the Crazylegs Crane series, which failed in almost every area, but my overall feelings are similar to that of the Dogfather series in finding it rather mediocre and forgettable. Which sums up 'To Catch a Halibut' very well, a few good things but also a lot of significant drawbacks done very badly.

Good things: There are good things here in 'To Catch a Halibut'. The animation is surprisingly, considering the period for the studio where the quality of almost everything was noticeably cheaper, not bad at all. Some nice colours and good fluidity in the air action.

Did think too that the music had some nice character and that some of the voice acting has some spirit.

Bad things: The drawbacks are many and big, as well as impossible to ignore. It is for one thing very formulaic, with pretty much all the too few gaga being rather tired and predictable to the extent that remembering them long after is hard. Also badly lacking in variety. The catchphrases are very lame and corny to the point of groaning, a big problem when the writing is so reliant on them in a cartoon that feels very repetitive. The cartoon would have been a lot better without the canned laughter track, which sounded cheap and wasn't necessary in the slightest considering that the writing is not very sitcomish.

Furthermore, the story is paper thin yet also feels rushed product like and repetitive. It is also overly silly, even for a premise where serious suspension of disbelief is needed to begin with. The characters are very one note and bland in personality, and they are neither funny or endearing and instead too slapped together and product of the time like. With Misterjaw and Catfish, it was like seeing an even more bumbling Pug and even more annoying Louie from the Dogfather series in fish form. There is not an awful lot of chemistry between them and the ending is mean spirited and felt abrupt and incomplete.

Closing thoughts: Overall, mediocre.

4/10.

Muppets Haunted Mansion (2021 TV Special)

Not spooktacular enough

[4/10 · 14 April 2024]

'Muppet Haunted Mansion' (2021)

Opening thoughts: Am a great fan of the Muppets and an admirer of Jim Henson in general. 'The Muppet Show' and 'Muppets Christmas Carol' were major childhood favourites (the latter still a Christmas tradition). Really like to love most of the films, 'The Muppet Movie' and 'Great Muppet Caper' particularly with 'Treasure Island' being the last great one, with only 'Muppet Wizard of Oz' doing nothing for me. Also love Halloween, the Haunted Mansion is one of my favourite Disney rides (despite scaring me hugely first time) and the concept sounded great.

While not hating it, 'Muppet Haunted Mansion' disappointed a lot on a number of levels. A few things are done nicely, but so much is wrong (badly so) and most of what made the Muppets so great is absent here. As far as Muppet films etc go, 'Muppet Haunted Mansion' is one of the weaker endeavours easily and really does not live up to one of the on paper more interesting concepts given less than interesting execution. Marginally better than 'Muppet Wizard of Oz' but not by much.

Good things: Sure there are good things. The sets have a good amount of atmosphere and are appropriately Halloween-ish. Did enjoy some of the nods to the Muppets and the Haunted Mansion as well as the haunting and spookily staged "Grim Grinning Ghosts" number.

Gonzo, the only Muppet to make a positive impression, is a joy, suitably amusing and likeable as well as in character. A couple of the human cast are fun, with Taraji P Henson enjoyably hamming it up as the only interesting non-Muppet character in terms of development. Will Arnett amuses, despite being a bit random.

Bad things: It is sad however that the Muppets on the whole are very underused and/or confusingly utilised, with only Gonzo and Pepe having anything more substantial than fleeting come and go appearances. Pepe himself is on the bland side and doesn't have enough chemistry with Gonzo. The voice acting is mostly distractingly bad to put it mildly, especially the very bad head cold-like one for Kermit.

Other than Henson and Arnett, the human cameos are easily forgettable at best and are too random and contrived. Being lost amidst the overuse of cheap CGI, the direct to video look of the photography and editing and the very unhummable and pre-school level songs. The script is on the whole witless and too heavy on corny puns and low on charm. The plot is very thin and dragged out, as well as having too little mystery or creepiness. With a story as thin as it was, it did mean that the pace was dull. Did appreciate the moral and how well intended it was but it was too trite and shoehorned in delivery and felt out of place.

Closing thoughts: Concluding, lacklustre and not spooktacular enough.

4/10.

Tijuana Toads: Two Jumps and a Chump (1971) Season 1, Episode 9

Didn't have me jumping out of my chair

[4/10 · 14 April 2024]

'Tijuana Toads' "Two Jumps and a Chump" (1971)

Opening thoughts: None of the previous Tijuana Toads cartoons are particularly good in my humble opinion, the best being 'Go For Croak' and 'Snakes for the Gracias' (the only two to rise above mediocre) but for reasons other than the toads. It was not as if everything DePatie-Freleng Enterprises did were mediocre or worse, they were responsible for The Pink Panther, The Inspector and the Ant and the Ant and the Aardvark and at their best those series are great.

Their 70s work however is less good, and while there were even worse theatrical series of theirs the Tijuana Toads series was really not them at their best. 'Two Jumps and a Chump' is the ninth cartoon and the third outing with Crazylegs Crane as El Toro and Pancho's opponent. To me, while not quite one of the worst cartoons in the series 'Two Jumps and a Chump' is one of their weaker collaborations with all the usual flaws and the previous two Crazylegs appearances handled him better.

Bad things: A lot of issues are here. The story is hardly there, with too much of a rehashed feel, a very dull pace from a lack of energy and tension and a paper thin structure. There is just far too little to it and it takes too long to get to the point. Most of the material is thin on the ground and bland, very little is remotely amusing here with all the too few existing gags being very unimaginative and little more than repetitive recycling. The animation is really not good, with a flat and unfinished look that takes simplicity to extremes.

El Toro and Pancho are both annoying and neither have interesting or appealing personalities. Their behaviour is not much different to what was seen before in their previous cartoons. 'Two Jumps and a Chump' does very little with Crazylegs, who here is bland and is too much of a dimwit. Their conflict is neither entertaining or suspenseful. Tom Holland and Don Diamond voice too broadly with badly stereotypical accents, as ever, and Larry D. Mann sounds as if he had just gotten out of bed still yawning.

Good things: However, there are good things. The cartoon does pick up towards the end, which is easily the best part and has finally the energy that was so lacking elsewhere. Crazylegs' final line raises the cartoon's biggest laugh.

Doug Goodwin's, composer regular for DePatie-Freleng Enterprises' output, music score fits well, is colourful and has a nice character. The main theme is an upbeat winner. If there was one aspect that was consistently good throughout the series, it was the music.

Closing thoughts: Overall, didn't do much for me sadly.

4/10.

Endeavour: Prelude (2023) Season 9, Episode 1

Welcome back to form!

[9/10 · 14 April 2024]

'Endeavour' "Prelude" (2023)

Opening thoughts: At its best, 'Endeavour' is a wonderful series. While the eighth season disappointed (especially the finale "Terminus", which didn't feel like 'Endeavour'), many of the early seasons' episodes were absolutely outstanding and worthy of 'Inspector Morse' (one of my favourites of all time) at its best. Also thoroughly enjoyed a lot of 'Lewis' and the three of them go very well with each other.

Was really psyched for this ninth and sadly final season, to see how such a high quality series would go. Was really hoping that it would be closer to the quality of early seasons 'Endeavour' and not closer to the previous one. Season 9's first episode "Prelude" sees 'Endeavour' back on track and back on form. Almost as good as the series in its prime and a huge improvement over "Terminus", with all the problems with Season 8 solved here.

Bad things: If there is one thing that isn't quite as good as it could have been, for my tastes the London gangster storyline could have gone into more detail.

Good things: Otherwise, "Prelude" is just great. The production values continue to be exceptionally high, exquisitely photographed and with a real sense of period lovingly and faithfully recreated. There is also a lot of atmosphere, particularly in the lighting. This atmosphere continues in the haunting music, which never felt overbearing or obvious. The theme music is iconic.

Moreover, the script is intricate and thought provoking, there is a good deal of talk but it is tight and none of it came over as filler. The storytelling is always absorbing, a lot happens with more than one case, but it never came over as disjointed or like three stories in one. There are a lot of twists and turns, but it still is coherent and it didn't feel over-complicated or bloated. The denouement is very unexpected and makes psychological sense, not silly, extreme or confused, the truth is quite sad and the motive made psychological sense.

Shaun Evans is as ever charismatic in the title and Roger Allam is wonderful as always, he can do no wrong in my eyes. They have such scintillating chemistry together, their relationship is pretty much the heart of the series and has always been beautifully written even in lesser episodes. Can't fault the supporting cast either.

Closing thoughts: Concluding, wonderful.

9/10.

Taggart: Silent Truth (2010) Season 27, Episode 3

Not that bad but could have been a lot better

[5/10 · 14 April 2024]

'Taggart' "Silent Truth" (2010)

Opening thoughts: Have loved 'Taggart' (another show gotten into during my teenage years) for a long time, although the more deliberate and even grittier Taggart and Jardine periods to me are superior to Burke's. Although it was actually through watching the late afternoon reruns of the Burke period episodes (starting from "Compensation" right up to when the episodes became shorter, too short in my mind) at one point that got me hooked, the Taggart and Jardine episodes were actually seen a lot later.

"Silent Truth" was one of the last Burke-period 'Taggart' episodes seen back when it first aired. Even back then, without having any knowledge of how fans felt about the later Burke seasons, the episode left me very mixed. My feelings are pretty much the same thirteen years on. "Silent Truth" is worth a look (this reviewer only dislikes about three episodes), but it is indicative of how tired the show generally felt later and how the shorter lengths of the episodes were a detriment rather than an asset. As of now, it is the lowest rated episode here. To me, it is not that bad and "Genesis" and "Law" are a good deal worse. It is very uneven though and doesn't see 'Taggart' at its best.

Good things: There are good things here. It is typically slick-looking and it is good that the photography doesn't try to do too much stylistically, without being too clean looking. The grit has definitely not gone and neither has the uncompromising feel that the Glaswegian scenery gives. The theme song is still memorable and has an appealing nostalgic vibe, as well as well suited to the tone of the show. The acting from the regulars is fine.

Had little issue with the investigative work or how the team worked together. The episode does start promisingly and the scripting is gritty and thought provoking.

Bad things: On the other hand, "Silent Truth" is a long way from great. The music still doesn't really fit, feeling 10 plus years out of date (perfect in the 80s and early 90s episodes but very dated in the later Burke period episodes). The episode also suffers from the same two things that spoilt the show when episode lengths were shortened, with it being yet another episode to feel too short and too rushed.

Also felt that the case could have been better. It was too ordinary and could have done with more suspense and twists, while also trying to incorporate too much which made the second half over-complicated. Didn't care that much for the support acting, which felt phoned in and their characters are more generalised stereotypes than real people.

Closing thoughts: In conclusion, have seen a lot better but was expecting a lot worse considering the rating.

5/10.

A Shaun the Sheep Movie: Farmageddon (2019)

Shaun goes sci-fi

[7/10 · 14 April 2024]

'Shaun the Sheep Movie: Farmageddon' (2019)

Opening thoughts: Am a big fan of Aardman and have been ever since seeing 'Wallace and Gromit in A Close Shave' (which is a firm family favourite and one of our Christmas traditions is watching that and 'Wrong Trousers') for the first time. Shaun the Sheep immediately won me over in his first appearance in 'A Close Shave' and continues to do so. Absolutely love the 'Shaun the Sheep' show, and was not in all honesty expecting for the first 'Shaun the Sheep' film to be as good as it was.

'Shaun the Sheep Movie: Farmageddon' is a more than worthy sequel and even though even slighter story wise even with the referencing retains much of what is so good about the show and the first film. It's not as good, with it falling a little into the trap that the first film surprisingly managed to avoid, but it is a worthy sequel and a good and vastly entertaining film in its own right. Don't expect much from the story, and anybody who loves fantastic animation, endearing lead characters and clever writing should see 'Shaun the Sheep Movie: Farmageddon'.

Bad things: Beginning with the not so great things, the story is very slight, though actually it was a wise move to keep things straightforward (just that it was a little too much so in places), and is a little too like an over-extended episode of the show. It is also very over-familiar with very little new and some of the pacing drags.

Did feel too that the alien design was on the strange side.

Good things: Everything else is great. The animation is absolutely wonderful (this component is even better than the animation in the first film, which is a big compliment as that component was the standout one in the first), with its vibrant, bold colours, immaculately detailed backgrounds and well-modelled character designs. Not to mention some very imaginative sci-fi visuals. Sheep have seldom looked cuter in film. The John Williams-like score is inspired and is the kind that rouses the spirits and tugs at the heartstrings. Having no dialogue aside from grumbling and animal noises was also a wise move, instead letting the story, gags and characters do all the work. The show also had no dialogue and definitely worked without it.

Furthermore, 'Shaun the Sheep: Farmageddon' is every bit as funny as the first film, with hilarious and nostalgic references to the likes of 'ET', 'Men in Black', 'Signs' and 'Alien' that never felt forced or shoehorned in. They don't go on for too long as well. Like the first film, it does brilliantly at providing something for all ages and kids and adults alike. Children will delight in the characters and will have no trouble following the story and it is never juvenile for adults either, who are going to get the references more. When it comes to the gags and the humour, they are hilarious and true in style to the gags in the show. Again like the show not much new but they are genuinely witty and funny as well as timed to perfection and conveyed absolutely beautifully.

Can't fault the characters either. They are every bit as delightful as in the show, Shaun has lost none of his endearment and is just adorable for a character that never speaks. The film is very cute without being sugary and it never feels forced or like it is trying too hard, the charm never stops too and there is enough energy to satisfy (even if pacing is a problem at times here).

Closing thoughts: In summary, really liked it while liking the first film more.

7/10.

Long Lost Christmas (2022 TV Movie)

Beautiful

[8/10 · 14 April 2024]

'Long Lost Christmas' (2022)

Opening thoughts: Was generally not particularly impressed by the previous 2022 Hallmark Christmas Movies and Mysteries films, the best being the promising 'We Need a Little Christmas' and there was a lot good about 'Our Italian Christmas Memories'. 'Christmas Bedtime Stories' and particularly 'Maple Valley Christmas' were very bad. As said elsewhere, Hallmark have succeeded in the past with producing quieter more serious films.

'Long Lost Christmas' is by far the best 2022 Hallmark Christmas Movies and Mysteries film up to this point and one of the best of what continued to be a very variable seasonal block. 'Long Lost Christmas' is a beautiful film and in the better half of Hallmark's 2022 Hallmark output, as well as proof of Taylor Cole (personally find her on the take and leave side) being capable of giving a good performance with good material.

Bad things: It is not quite perfect. The pace is a little too slow to begin with.

One reaction to a major revelation leading into the conflict didn't really ring true, seeming at odds at what is revealed, and came slightly out of nowhere. Maybe the music could have been toned down at times.

Good things: However, 'Long Lost Christmas' is beautifully acted. Cole's performance is very charming and heartfelt, she has a good deal of warmth and there is none of the ice queen persona that is present in some of her roles. Benjamin Ayres' character is somewhat a cipher, but one that Ayres brings a lot of subtle charisma and easy-going charm to him.

The supporting cast are strong, Jacqueline Ann Stuart bringing a lot of class. The characters are relatable and sympathetic and the relationships are written in a way that's affecting and easy to relate to. That between Cole's character and the daughter in particular.

Moreover, it is pleasingly shot with lovely scenery. The music is still pleasant enough and the direction is accommodating without losing momentum. The script is thought provoking and doesn't go overboard on the schmaltz (meaning not too frequent or too heavy). The story is quiet and reflective and has a lot of poignant emotional impact, it isn't too predictable and is honest and charming. Did tear up at the ending.

Closing thoughts: Overall, beautiful.

8/10.

The Pink Panther: Put-Put, Pink (1969) Season 1, Episode 29

Building motorcycles with Pink Panther

[7/10 · 7 April 2024]

'The Pink Panther' "Put Pink Pink" (1968)

Opening thoughts: 'Put Put Pink's' idea was a nice one and had no doubt that it would at least work. Not the most original on the block on the whole, but this sort of idea has more often than not worked very well before (a classic premise if you will) and it does so here. As a cartoon, it is decent but also uneven. 'Put Put Pink' is not one of the best Pink Panther cartoons while also not one of the worst. If anything it is around solid middle, doing a lot right while not succeeding at everything or exceeding it.

Bad things: Firstly, the story does have a sense of fun and doesn't make the mistake of being dull but structurally and narratively there isn't a huge amount to it and it is rather routine. The animation quality has also been better, the style is still simple (not a problem, the simplicity has always been part of the series' charm).

But with a lack of elegance in the drawings and the colours are not as vibrant.

Good things: The music is outstanding though, very easy to remember and adds a lot of character and upbeat jazzy style. And the theme tune is one that you can not tire of even after hearing it umpteen times. The gags are mostly amusing more than they are laugh-out-loud hilarious, but none of them fall into the unfunny category. Faring best is the ending and the one with the third motorcycle.

Pink is cool, fun and likable still as a character though his antics are also inept, in an appealing way though. The motorcycle cop is a great supporting character, one that brings some good comedy and also a character that you feel some empathy for.

Closing thoughts: Summing up, a quite good cartoon from the Pink Panther series but there's been better before and since.

7/10.

Jolly Good Christmas (2022 TV Movie)

A jolly good time

[8/10 · 7 April 2024]

'Jolly Good Christmas' (2022)

Opening thoughts: The 2022 Hallmark Countdown to Christmas block was a very mixed bag at best, though better than the Christmas Movies and Mysteries one. Of the previous Countdown to Christmas films, there were a couple of good ones such as 'A Kismet Christmas' but also a couple of disappointing ones such as 'A Cozy Christmas Inn'. Did like the concept for 'Jolly Good Christmas', so there was potential.

Potential that was thankfully lived up to. Not only is 'Jolly Good Christmas' easily the best of the 2022 Countdown to Christmas films up to this point it is also one of the best of the entire block. Also consider it one of the best 2022 Hallmark films, not just the Christmas ones (probably the first above good one) but overall. Was really pleasantly surprised how good it was and recommend it without hesitation.

Bad things: Getting the not so good things out of the way (bear in mind my couple of criticisms may be interpreted as nit-picky), the ending for my tastes was a little too rushes and tidy. Which is not uncommon for Hallmark, and was one of the more frequent issues this year for them.

Also thought that the music at points was a little too loud and intrusive.

Good things: However, everything else in 'Jolly Good Christmas' is good to great. It is elevated hugely by the charming and likeable lead performances of Will Kemp and Reshma Shetty, it is nice too to see non-Hallmark regulars in the lead roles once in a while and this is proof that non-Hallmark regulars are capable of good performances. Their chemistry is very witty and sweet, never coming over as strained and it is used just right. The supporting cast are very solid in roles that could have been too stock but just about weren't.

Furthermore, it is well made, with it being slickly shot and clearly loving the lovely location. Never did the editing come over as choppy. As well as the script, a high point is the script, which sparkles in wit, with the plentiful comedy never feeling forced and the less comedic parts not falling into over sentimentality. The story is pure light hearted fun and is full of charm and warm heart, it didn't feel dull and despite having typical elements and tropes it felt surprisingly fresh.

Closing thoughts: Overall, a jolly good time.

8/10.

Our Italian Christmas Memories (2022 TV Movie)

Well intentioned if over-stuffed

[6/10 · 7 April 2024]

'Our Italian Christmas Memories' (2022)

Opening thoughts: To be honest, for me the overall standard of the previous 2022 Hallmark Christmas films (with a couple of exceptions of course) was not great. The worst being very bad. Did like the premise for 'Our Italian Christmas Memories' (lovely reflective title) and applaud any film etc that explores or portrays Alzheimer's. Hallmark are no stranger to serious, quieter films and attacking difficult sensitive themes and relatable relationships.

Quite a lot of Hallmark's have succeeded in making good films with a more serious tone and heavier subjects, though others fall into the over sentimental and heavy-handed categories. 'Our Italian Christmas Memories' doesn't fall into those traps, but it would have been a better film if it tried to do less. As a film, it is above average and well intentioned, at its best actually with the Alzheimer's portrayal. But it could have been a good deal, as not all the storytelling works as well as ought. As far as the 2022 Hallmark Christmas films go, it is not one of the worst but also not one of the best.

Good things: Starting with the many good things with 'Our Italian Christmas Memories', the best thing about it is the performance of Beau Bridges. Very classy and moving. Every bit his equal is the charming and heartfelt Sarah Power. The chemistry is sweet and genuine, never sickly, while the supporting cast are solid too despite their material being variable.

Furthermore, the production values are pleasing, with slick photography, beautiful scenery and the editing is always cohesive. The script generally flows well and doesn't feel contrived or self-indulgent, it comes over as sincere and doesn't take things too seriously. The story has enough compelling parts, is very sweet and handles the subject matter tactfully. 'Our Italian Christmas Memories' is at its best in its portrayal of Alzheimer's, very moving and honest as well as tactful. Also succeeding at showing better than most films etc revolving around it how it affects not just the person diagnosed but also family and anybody else close.

Bad things: Against all this, 'Our Italian Christmas Memories' is too over stuffed with too many subplots. What makes this a problem is that it gives a choppy and rushed feel structurally and a few of the subplots are severely under-developed and under-cooked, especially for the doctor.

Have actually highly appreciated the same sex couple relationships and welcomed the increase in diversity in Hallmark films, but the one here is so underwritten and hardly there so it was not needed. The ending is unrealistically pat. The title, as has been said already, is misleading, as said there is very little passing for Italian, the traditions not being Italian and the cast would never pass for Italians, and there is also very little that is Christmassy. There are also too many cliches with nothing fresh done with them, which make most of the situations and character decisions very easy to predict prematurely.

Closing thoughts: In conclusion, decent and with good intentions but very uneven.

6/10.

The Ant and the Aardvark: Odd Ant Out (1971) Season 1, Episode 11

Can battling at its most amusing

[8/10 · 7 April 2024]

'The Ant and the Aardvark' "Odd Ant Out" (1971)

Opening thoughts: For me, 'Odd Ant Out' is a very enjoyable Ant and the Aardvark (one of the best of the studio's numerous theatrical series and that the two leads are so strong helps) cartoon that is in the better half of the series that just falls short of greatness. A lot of great things, if a couple of short-comings at the same time. It does feel more a battle of the two aardvarks cartoon rather than the ant and the aardvark one, the ant does not have an awful lot to do in 'Odd Ant Out' and more a plot device sort of character. All the best material comes from the two aardvarks.

Good things: 'Odd Ant Out' has a lot to recommend, am going to start this review off with the good things. The finesse continues to improve in the drawing, but the rich colours, beautifully abstract backgrounds and the Aardvark's expressions and reactions continue to make, and make more of, an impact. The music is never scored with a heavy hand, its light touch being a striking asset here and throughout the series, it never loses the energy (the energy throughout the cartoon is constant too which is great) and its jazzy nature evokes a lot of nostalgia. The main theme accompanying the opening title sequence is memorable and doesn't grate, even when watching all seventeen cartoons in a row.

As to be expected, the (blue) aardvark is a typically compelling character with a personality that while never complex never bores or annoys and great comic timing that shines in both the physical and verbal humour (plenty of both in the cartoon and in the series). The green aardvark proves himself to be one of the series' best supporting characters, a very effective match for both and his chemistry with the aardvark is a highlight. John Byner does a typically terrific job with the voices.

The gags are not the most original, being ones that could easily have been at home in the Roadrunner/Wile E. Coyote series and the sucking objects through the nose gag that appears frequently throughout the series is a little repetitive. But there are many gags and they are a lot of fun, most of it coming from the battling between the aardvarks. The dialogue is even better though, the "this is all your fault stupid" line is laugh out loud.

Bad things: For all those good things, although with the character of the other aardvark there is an attempt to inject a little more story it's very predictable and basic.

How the cartoon ends is not much of a surprise and a little on the rushed side.

Closing thoughts: Summing up, very enjoyable.

8/10.

The Storyteller: Greek Myths: Orpheus & Eurydice (1991) Season 1, Episode 3

Orpheus and Eurydice

[10/10 · 7 April 2024]

'The Storyteller: Greek Myths' "Orpheus and Eurydice" (1991)

Opening thoughts: 'Orpheus and Eurydice' is probably the least well known of the four myths adapted, but it is a beautiful and inspiring one. Moving and inspiring sum up 'The Storyteller: Greek Myths' adaptation to a tee and proof that the story lends itself well to a half hour television episode. It is a great interpretation of the story and is an outstanding episode for 'The Storyteller: Greek Myths' (and pretty much anything for that matter) in its own way. Notable particularly for the music score and Hades, it is also the most emotional episode of the series. So really a must, and actually a good place to start getting into 'The Storyteller: Greek Myths'.

Good things: Everything."Orpheus and Eurydice" first and foremost looks great. It is beautifully and atmospherically shot, especially at the end, and the set design also has a lot of ethereal atmosphere. The foreboding one for the underworld stands out in particular. The effects work, never look cheap and are not overused or abused, also never gets in the way of the storytelling. Nobody is going to forget those for Hades for some time. This episode is the one with the series' best music score, one of my favourite things of the whole series, rousing in the more joyful parts and hauntingly gorgeous in the more mournful ones. This is the component that contributed most heavily towards the emotional impact of the ending.

Which is extremely powerful here, no other scene from 'The Storyteller: Greek Myths' made me cry this much even when knowing it was coming. Furthermore, the writing never came over as awkward or cheesy and is always intriguing and thought provoking. The storytelling is also spot on and truly arresting, it is the least dark of the four episodes but that is not a bad thing as the original myth is also the least dark of the four adapted. As aforementioned, the ending really stands out and is the clear dramatic highlight.

Both titular characters are written faithfully and strongly, with heroism, intensity and relatability. Hades is suitably sinister too. The acting is without issue, Gambon may not have the "embodying the role" quality that John Hurt had in 'The Storyteller' but he has the right amount of charm, wisdom and twinkle in the eye. Brian Henson has great comic timing. Art Malik is strong as the lead and is very well supported by Gina Bellman's affecting Eurydice and even more so Robert Stephens' (getting the acting honours) terrifying Hades.

Closing thoughts: Overall, outstanding.

10/10.

Silly Superstition (1939)

Weak superstition

[3/10 · 7 April 2024]

'Silly Superstition' (1939)

Opening thoughts: Have seen a lot of the cartune special cartoons over time (some first time viewings recently, others re-watches), and while they are a mixed bag in quality there are plenty that are well above average and more. Burt Gillett did do a good deal of great work in his earlier career, with some of the best Disney cartoons (i.e. 'Lonesome Ghosts' coming from him), but his later work varied with some good cartoons but also some rather average ones. Same goes for Walter Lantz.

'Silly Superstition' is one of three cartoons to star Li'll Eightball. Watching this and the other cartoons, which are not much better on the whole and for pretty much the same reasons, it is hardly surprising that he and his series didn't last long. This is very weak and one of the worst Cartune special cartoons and among the worst for both Gillett and Lantz. To the extent that there was real disbelief of it coming from them. It even manages to waste a legend and in my mind that's unforgivable.

Good things: It is not all bad. The animation is vibrant and beautifully detailed, with also some nice atmosphere.

Even better is the very characterful music, that is also lush in orchestration and rousing and does so well at enhancing the action rather than merely adding to it.

Bad things: Unfortunately, that is pretty much it for the praise. It badly lacks energy and is sorely lacking in laughs, in fact in material and atmosphere the cartoon has next to nothing to it. The story is pretty much non-existent and is very predictable.

Also found the titular character himself very unappealing and personality free, basically he is little more than a very bland stereotype. There is a lot of racial stereotyping here, even for back then, and they are hard to take, cliched and in bad taste (even when judging it for back then). The waste of the God of voice acting Mel Blanc is truly unforgivable.

Closing thoughts: Summarising, very weak.

3/10.

Roland and Rattfink: The Foul Kin (1968) Season 1, Episode 9

Cash of death

[5/10 · 7 April 2024]

'Roland and Rattfink' "The Foul Kin" (1970)

Opening thoughts: Of the previous Roland and Rattfink cartoons, all are watchable and more but none of them strictly speaking are ones worthy of repeat value. There are cartoons in general that do that with me, coming from somebody who loves anything animated of all styles and decades regardless of budget, but the Roland and Rattfink never properly rose above high middle in standard and are not cartoons that fit in the category unfortunately. Am not saying that with pleasure just to say.

This is the ninth cartoon of seventeen making up one of DePatie-Freleng Enterprises' middling theatrical series that never achieved an awful lot of popularity for reasons not inexplicable, so the halfway point for the series. For me this is one of the lesser Roland and Rattfink cartoons, far from terrible but not particularly good. It is not easy making something funny out of a serious situation and although one can see effort the cartoon doesn't completely succeed.

Good things: Visually, this fares much better than the previous cartoon 'A Taste of Money' in this department. The drawing is very sketchy, but the colours are lush and the backgrounds are far more elaborate which makes the setting far more vivid. Rattfink actually looks finished too. The music continues to be on the money, the jazzy rhythms and light-heartedness fitting beautifully. The humour is a long way from being creative but there are some amusing moments, pretty much all of it coming from the dog.

Who is also here the best character by quite some way (though Roland's very brief cameo while somewhat random raises a smile) and his chemistry with Rattfink is amusingly anarchic, the most believable easily of the character relationships. One of the cartoon's most satisfying parts though is the ending. Lennie Weinrib seems to be enjoying himself.

Bad things: Like the rest of the series, there is very little original here. Again, it is a very familiar scenario that is not a novel one in animation and there is a very seen it all before vibe throughout. There are amusing moments certainly, more in the more energised second half (found the first a bit bland), but most feel recycled (more toned down Looney Tunes than Roland and Rattfink) and the lack of surprises and freshness hurt them somewhat. The dialogue can be corny, some nail Rattfink's snideness in the writing that is and others miss the mark. This doesn't quite make it as there isn't enough of it.

Somehow the characterisation of Rattfink seemed off, there were a few Roland and Rattfink cartoons that seemed to experiment with the characters, particularly Rattfink, and there was the sense when they did it that they didn't know what to do with them. That's the case with Rattfink, the writers did go overboard on his greed character trait which made it difficult to be amused by him or get behind him. Even for an intentionally crotchety character the old man is deeply unpleasant and not in a funny way, if Rattfink wasn't as greedy as he was it would have made it easier to root for him. There were a few cartoons in the series that didn't seem to belong, and this didn't feel like Roland and Rattfink but more experimenting solo Rattfink in a role that could have been filled by any character.

Closing thoughts: Overall, watchable but again pretty mixed.

5/10.

Bats in the Belfry (1942)

Definitely does fly, but doesn't quite soar

[7/10 · 31 March 2024]

'Bats in the Belfry' (1942)

Opening thoughts: For me, Rudolf Ising was a bit up and down as a director. There are cartoons of his that are good, sweet, charming and amusing (if seldom hilarious). Then there are others that are not so good, too cutesy and tired with bland characters and barely existent storytelling. 'Bats in the Belfry' sees a bit of both extremes, though thankfully with more the former than the latter. Which was surprising, seeing as it has a premise that could easily be entirely the latter and also one that is not that great.

Bad things: It isn't perfect. Like with all Ising cartoons, the story is best forgotten as there isn't really one, what little there is has too much of a recycled feel and the pacing is not always secure. Occasionally it goes a little too far on the silliness.

The ending also had a sense that the writers didn't know how to end the cartoon and instead took the easy, safe option out.

Good things: However, the animation is wonderful, very beautifully detailed and lush and never over-saturated in colours. The backgrounds particularly, which are exquisite. The music is every bit as great, very vibrant, sumptuously orchestrated and atmospheric, not just adding to what happens but enhancing it too.

'Bats in the Belfry' is cute, but never too much so. Did enjoy the almost surreal wackiness, as well as the clever and not over-used use of fourth wall breaking and an unexpected moment of poignancy. Ising's cartoons don't often succeed in giving characters distinct and well-defined personalities, but succeeds here with the bats. All with personalities of their own and ones that appeal.

Closing thoughts: All in all, pleasant enough if not exceptional.

7/10.

Patagonia: Earth's Secret Paradise: Heat and Dust (2015) Season 1, Episode 2

Heat and dust

[8/10 · 31 March 2024]

'Patagonia: Earth's Secret Paradise' "Heat and Dust" (2015)

Opening thoughts: 2015's 'Patagonia: Earth's Secret Paradise' immediately appealed to me prior to watching. Absolutely love nature documentaries (have done ever since seeing David Attenborough's groundbreaking work for the first time when they first aired) and it is always wonderful seeing the absolutely wondrous Patagonia, which has always been explored beautifully, which has always fascinated and visually captivated. Not to mention its beautifully varied wildlife, familiar and not so familiar.

'Patagonia: Earth's Secret Paradise' is a wonderful, if somewhat too short, documentary, and "Heat and Dust" is a truly fine second episode to it. It may not have the same amount of tension and emotional impact of other episodes of other documentaries, but both are still here in "Heat and Dust". Along with impeccable production values and memorable scenes and inhabitants. Great to see a documentary that focused specifically on Patagonia, its landscapes, its inhabitants and the adversity faced when it can usually be seen as part of an episode of a 3 plus part documentary series.

Bad things: My only issues are the length, as it does feel too short like many of the recently seen documentaries, and the human scenes, which were not hugely illuminating or unique. With a lot of content, this could very comfortably have been 10 minutes more perhaps which would have given the viewer more time to take in the information and also learn more.

Otherwise, this is fabulous. It looks absolutely great for one thing, with both beautiful, varied and unforgiving scenery and especially the photography that leaves one in awe at its best. Especially in the wind travelling east and penguins sequences. There is though more to it than cute animals and plants in beautiful environments, one is reminded without being preached at that there are daily challenges. Like the dangers of the winds.

Expectedly there is some messaging, but it is as relevant today as it was back then, so it is hardly outdated. It also makes its point quite powerfully and thoughtfully, was very worried about it being preachy but there are documentaries that are a million times worse at that. The music, with an accessible style, is relaxing in some parts while having some edge in other parts.

The inhabitants are a great mix of adorable, formidable and exotic and their behaviors and ways to survive are relatable, surprising and inspiring. The penguins were an absolute treat, speaking as a lifelong lover of penguins, and the maras and guanacos were unfamiliar to me and incredible to watch, the first faltering steps of the guanacos was an adorable sequence and one of my favourite scenes from the series.

When it comes to the information, it is very educational and the narration entertains and informs without preachiness or being gimmicky, any familiar content is approached freshly, and in a way that will captivate and never disturb kids while not being cookie cutter. Maybe it have been delved into more. The narration delivery is very gentle and authoritative with no sugar or melodrama.

Closing thoughts: Overall, really well done.

8/10.

National Theatre Live: Salomé (2017)

Not to my taste

[5/10 · 31 March 2024]

'National Theatre Live: Salome' (2017)

Opening thoughts: Have for a long time loved viewing the live cinema streamings of the National Theatre Live series. So many gems in the series and very few misses, and what strikes me about watching these productions are how they are made available so accessibly while making one feel like they are there. Am always up for seeing something different to Shakespeare and other theatre standards, and was looking forward to seeing a fresh take on the Salome character and her story.

For me though, the play is not a great one. While admiring what it does with the character of Salome, its story is not the easiest to get into or the easiest to follow. And that is being polite, while the script is self-indulgent. While beautiful to watch and well acted, this production of 'Salome' was just bewildering and fixes none of the issues that the play has and instead exaggerates the issues even further. Some fine talent involved, most of it unfortunately wasted.

Good things: There are good things. It is a very visually striking production, with some truly astonishing (in both beautiful and uncompromising ways) imagery of water, sand and blood. A notable example being Salome's descent down a ladder. The lighting is full of atmosphere in both a dream-like and suitably nightmarish way and the costumes are evocative. The music is truly haunting and beautifully sung and performed.

Moreover, there is some good acting. Olwen Fouere is very commanding in her role and really makes the most of her banal platitude-filled dialogue, while Isabella Nefar mesmerises hauntingly in the title role. Ramzi Choukair plays John the Baptist with tremendous power. There are disturbing and poignant moments of seeing the abuse and mistreatment of women, though full impact is too far and between.

Bad things: On the other hand, the script still comes over as self-indulgent mush and will likely confuse first time viewers. Have seen many fine biblical epics that this sometimes reminded me of, but even most of them didn't have scripts as banal or as empty as the one here. Did not like the staging, which is too careful and too aimless with too much emphasis on slow motion dance-like movement that didn't seem to say anything. Too many staging touches made me question what was the point of this touch and what does it mean, this reviewer doesn't want to constantly think that watching theatre or any kind of theatrical medium.

Pacing is very dull throughout, a number of scenes having very little to nothing going on (some feeling over-stretched), most going on and on without saying very much. Did find the waste of fine actor Paul Chahidi unforgivable, he sounded perfect for Herod on paper but he doesn't come over as sinister enough in an underwritten role and is restricted mainly to stylised slow motion posturing.

Closing thoughts: Concluding, interesting try but regrettably this didn't do much for me.

5/10.

Scooby-Doo! Mystery Incorporated: Dark Night of the Hunters (2013) Season 2, Episode 23

The beginning of the end

[10/10 · 31 March 2024]

'Scooby Doo: Mystery Incorporated' "Dark Night of the Hunters" (2013)

Opening thoughts: "Dark Night of the Hunters" was an episode of 'Scooby Doo: Mystery Incorporated' that was seen a lot later than most episodes of the show. On first watch, it blew me away. Not just for the atmosphere but even more so the emotion and it is a revelation when it comes to the character writing and character moments, showing how much the characters and storytelling have progressed. Had no doubt that it would be even better, as that has been the case with all the particularly complex episodes of Season 2.

Found myself not disappointed at all by "Dark Night of the Hunters", which is something of a beginning of the end episode. Liked to loved all the episodes from Season 2, and for me this was one of the best. As far as 'Mystery Incorporated' goes it is towards the top in my view as well. Especially on an emotional level and what it did with the characters and individual character moments. Where characters were seen in a different light, where questions were starting to be answered and where past behaviours were more understandable.

Good things: Velma's character writing for one thing is a revelation, this is the episode where Velma is at her most relatable and most interesting and really appreciated that "Dark Night of the Hunters" addressed her insecurities as it was a major arc since the show first began and was long overdue. It did help me understand why she was that way with Shaggy in the first half of Season 1. The episodes also addresses Fred's family issues, also a major arc since the show first began (more so) and again it was something that needed to happen. This was the perfect time to do so as well before any manipulation began and where any vulnerabilities were used against them.

There are some great individual scenes in "Dark Night of the Hunters" that added a lot to the characters. Standouts being the bittersweet and heart tugging final scene, Velma with her mum (who is very cool here) and the cute plant sculpture scene. Loved too that an explanation was provided a vital clue meaning that the mystery continues to move forward, hence what was meant by questions starting to be answered.

Furthermore, the animation is smooth, beautifully detailed, vibrant and atmospheric. The music has momentum but also the right amount of spookiness. The voice acting is excellent, as is the character writing and interaction. The writing is a great mix of amusing, tense and heartfelt, balancing them expertly while executing them individually equally well.

Can't fault the creepy and emotional story that is never obvious or over complicated, nothing feeling like extraneous filler.

Closing thoughts: Overall, brilliant.

10/10.