The Quatermass All-Purpose Media Review Thread

[Quatermass]

REVIEW: Westworld: Episode 3: The Stray, Episode 4: Dissonance Theory, and Episode 5: Contrapasso by Jonathan Nolan, Lisa Joy, Daniel T Thomsen, Ed Brubaker and Dominic Mitchell.

TYPE: TV series

DETAILS: WW1.3-5, 3X60 minute episodes


I’ve decided to go back and watch more of Westworld, now in more of a block of episodes. I have to admit, I’ve been enjoying the ride so far. Time will tell, though, whether that continues…

Dr Ford’s last-minute replacement of the narrative has caused some concern amongst the personnel, as are the glitches caused by his additions to the update. Investigating, Bernard finds out something of Westworld’s past from Ford: Arnold, the co-founder of the park whose work had been scrubbed from the official histories of the park. Meanwhile, Elsie and Stubbs track down a stray Host, only to discover something startling. Both Dolores and Maeve are troubled by strange visions, leading up to Maeve waking up while being repaired, while Dolores falls in with William and Logan. And the Man in Black relentlessly pursues what he thinks is the next layer of the Westworld game, the Maze, believing it to be Arnold’s last secret…

We finally seem to be getting to the meat of the story proper. True, there’s a few elements that stick out like a sore thumb, even in an HBO series (the orgy in Contrapasso, for example, just seems ridiculously gratuitous), but most of it is pretty damned good. Admittedly, it’s annoying how much the plot is blurred, knowing that at least a couple of storylines take place in the past (even knowing that in advance, some things are hard to unpick), but there’s also some deep philosophical themes presented alongside the main story.

It’s certainly in these episodes that Anthony Hopkins gets to show his mettle, showing some very understated menace in one scene where Ford threatens, albeit quietly, Theresa. Plus, we have Thandie Newton and Evan Rachel Wood as Maeve and Dolores going through their respective existential crises. And there’s the wonderfully dark performance of Ed Harris as the Man in Black, showing his agenda.

The production values are, as usual quite good. One does see the cracks here and there, though, with Anthony Hopkins’ deaged face as a young Ford evoking the uncanny valley, or the rather flat-looking matte painting of Pariah. But otherwise, everything is to a high standard.

Overall, I’m enjoying these episodes of Westworld. I certainly hope for the series to continue impressing me…

****½

 

[Quatermass]

REVIEW: Westworld: Episode 6: The Adversary, and Episode 7: Trompe L’Oeil by Halley Gross and Jonathan Nolan.

TYPE: TV series

DETAILS: WW1.6-7, 2X60 minute episodes

So, I now come to the next couple of episodes of Westworld, and very pivotal ones they are too. But how would I enjoy them? Let’s find out…

Therese decides to end her relationship with Bernard, with a representative of the board, Charlotte Hale, coming in to bring an end to the problems. But they need a scapegoat to try and oust Ford. Meanwhile, Elsie learns a disturbing truth about the would-be corporate spy: they are a member of Delos Industries, the very company running Westworld. Meanwhile, the Man in Black accompanies Teddy to find his goal, and Maeve learns more about her true nature. And behind the scenes, Robert Ford prepares for his ultimate goal, one which will cause one of Westworld’s staff to learn a disturbing secret about themselves…

Whew. Only a couple of episodes, but they’re doozies, including one hell of an ending to the seventh episode. True, there are a few moments that mar the enjoyment (like the frankly unnecessary scene of Lee Sizemore urinating onto a holographic map in full view of his colleagues), but otherwise, it’s pretty damned good.

Character-wise, well, there’s the introduction of Tessa Thompson’s Charlotte Hale, who seems unlikeable from the start and perhaps a little oversexed. However, as usual, Ed Harris and Anthony Hopkins do well, as does Jeffrey Wright as Bernard, given what happens to him. Thandie Newton as Maeve and Leonardo Lam as Lutz do very well in their scenes together as well.

Production values are still pretty good. There is another rather dodgy matte painting, true, but everything else seems on par. The atmosphere and cinematography works out very well.

Overall, these episodes of Westworld keep up the high standard for the series. Soon, I will be watching the final three episodes of this season…


****½

 

[Quatermass]

REVIEW: Westworld: Episode 8: Trace Decay, Episode 9: The Well-Tempered Clavier, and Episode 10: The Bicameral Mind by Jonathan Nolan, Lisa Joy, Charles Yu, Dan Dietz and Katherine Ligenfelter.

TYPE: TV series

DETAILS: WW1.8-10, 2X60 minute and 1X90 minute episodes

So, now I come to the season finale of the first season of Westworld. It’s been one hell of a journey, but would it have a suitable end? Let’s find out…

The end is drawing near. Bernard, Maeve and Dolores, having their true natures revealed to them, begin journeys to find the truth. William learns something that shakes his worldview, and sets him down a dark path. The Man in Black is closing in on the true nature of the Maze, but he won’t like what he finds. And the Delos board makes its move to oust Ford, unaware that he has made a plan of his own, a plan that started with his old partner, Arnold, one that could mean death, suffering, and even the birth of a new people…

Wow. What a brilliant end to a brilliant series, so far, anyway. Everything got tied up neatly and tidily, with not many loose ends, save for those going into another series. The series does end on something of a cliffhanger, but enough to kindle the desire to see more of the series rather than to frustrate the viewer. And the revelations about certain characters help give some proper sense back to the narrative.

The characters all do well. Of particular praise is Thandie Newton as Maeve, Evan Rachel Wood as Dolores, and Jeffrey Wright as Bernard, as they struggle with their identity crises. And, of course, there is Anthony Hopkins as Ford and Ed Harris as the Man in Black, with their plans coming to their conclusion.

Production values are, as always, spot on. It was an enjoyable romp as it ended, and this time, the brief CGI sequences of a young Ford are much better done than in the previous episode, possibly because he isn’t on-screen long enough to scrutinise. The cinematography helps immensely with the atmosphere of certain sequences, and there’s some brilliant action scenes, particularly in the last episode.

Overall, the last few episodes of Westworld were a brilliant end to a great season. Here’s to the next one…

*****

 

[Quatermass]

REVIEW: Code Geass: Lelouch of the Rebellion Episode 1: The Day a New Demon was Born, Episode 2: The White Knight Awakens, Episode 3: The False Classmate and Episode 4: His Name is Zero by Ichirou Okouchi

TYPE: TV series

DETAILS: CGLR1.1-1.4, 4X25 minute episodes

One of the most famous anime series of the Noughties was Code Geass: Lelouch of the Rebellion. Part mecha series, part alternate history series, part action thriller, it was noted for its moral ambiguity and complex themes. It’s about time that I began to watch it…but would I enjoy it?

The year, by the calendar of the Britannian Empire, is 2017. Seven years ago, the Britannian Empire invaded Japan, conquering it, and designating it Area 11 of the Empire. Now, the Japanese people are oppressed, with few rights, and a number of resistance and terrorist groups striking out against the invaders. Lelouch Lamperouge, a boy who is an incognito exiled son of the Emperor of Britannia, ends up getting caught up in the conflict between one of the terrorist groups and the Viceroy of Area 11, his own older brother Clovis, who seems intent on covering up his misdeeds, even if it means wiping out innocent Japanese. An encounter with a strange woman grants Lelouch the power of Geass, enabling him to give someone orders that must be obeyed. And with this, Lelouch realises he has the power to bring down the Empire he so despises…

Right from the get-go, the story asks some pretty hard moral questions, and it’s already intriguing. Not quite as deep as Fate/Stay Night, and there’s a lot of military and mecha action (I’m not much of a fan of mecha and military series, normally), but it’s still enjoyable. It reminds me a little of Blake’s 7 in some regards, and the alternate history is certainly drawing me in so far.

Of the characters, Johnny Yong Bosch as the key role of Lelouch of course stands out. He gives the character a certain intensity that is needed. The other characters range from irritating to decent to good, though Karen Strassman’s Kallen is certainly a standout.

Production-wise, well, this series is a beautiful one. True, the character designs by famous manga artist group CLAMP does take some getting used to, being frequently scarecrow-like in their proportions and some improbable hair and eye colours, more than the norm in anime, but still, they’re good all the same. There’s some good action scenes, and some strange set pieces, like when Lelouch first gets his Geass ability.

Overall, while not perfect, these first four episodes of Code Geass: Lelouch of the Rebellion are promising. I hope it maintains that high standard in times to come…

****

 

[Quatermass]

REVIEW: Game of Thrones: Episode 8: The Pointy End, Episode 9: Baelor and Episode 10: Fire and Blood by David Benioff and DB Weiss, and George RR Martin, from the novel by George RR Martin

TYPE: TV series

DETAILS: GOT1.8-10, 3X55 minute episodes


So, at long last, I come to the final episodes of the first season of Game of Thrones. But would they be as good the second time around? Let’s find out…

Ned Stark’s attempt at preventing Joffrey from ascending to the Iron Throne has failed, and he is now lambasted as a traitor. As Sansa struggles to keep her father alive, Arya escapes. Robb Stark calls the banners, assembling an army to deal with the Lannisters, but the inexperienced warrior may have more than a few problems. Meanwhile, at the Wall, some corpses of Rangers are brought in, corpses with a terrible danger, and the news of Ned’s imprisonment leads Jon to question his loyalties to the Night’s Watch. And Daenerys’ attempts to change the ways of the Dothraki lead to disaster, one which may cause her to lose as much as she gains…

Now, I have to give it to the makers of the show, they were unafraid of confronting some key scenes of the show, including that in the ninth episode. Indeed, everything in these episodes seem to be on the right notes, helped doubtlessly by the eighth episode written by George RR Martin himself. I enjoyed them immensely, from the intense scenes all the way to the little ones that add a polish to it.

Sophie Turner as Sansa certainly gets chances to redeem her character when she is confronted with the reality of Joffrey’s madness, and we have Conleth Hill showing some intriguing depth to Varys and Sean Bean going through Ned’s fall. And there’s Richard Madden as Robb and Michelle Fairley as Catelyn taking up a good chunk of screentime. And, of course, there is Emilia Clarke’s powerful performance, especially throughout the final episode.

Production-values wise, it’s pretty good. Admittedly, keen viewers will notice the sly dodge on an epic battle scene by having Tyrion knocked out during it, but that’s no real complaint. And the CGI dragons at the end of the final episode are also good, all the more startling because there have been virtually no fantasy creatures in the series so far. And there’s also the presentation of certain key scenes, including, of course, the climactic scene of the ninth episode. Everything comes together into a coherent, virtually perfect whole.

These three episodes were an excellent end to the first series of Game of Thrones. Here’s to the next series…


*****

 

[Quatermass]

REVIEW: Code Geass: Lelouch of the Rebellion Episode 5: The Princess and the Witch, Episode 6: The Stolen Mask, and Episode 7: Attack Cornelia by Ichirou Okouchi

TYPE: TV series

DETAILS: CGLR1.5-1.7, 3X25 minute episodes

So, now I’m back to the next lot of episodes of Code Geass. Having enjoyed the first few episodes somewhat, I was hoping the next ones would continue the trend. It’s time to find out if that was the case…

Lelouch may have made a successful debut as Zero, a new symbol for resistance against the Britannian Empire, but his struggles are only just beginning, especially as his ruthless sister, Cornelia, dubbed the Goddess of Victory, has been sent to take over from the late Clovis. And if that weren’t enough, the woman who gave him the power of Geass, the mysterious CC, seems to have taken up residence with him, and offers few answers to Lelouch’s questions. Meanwhile, Suzaku makes the acquaintance of a gentle girl who turns out to be Lelouch and Cornelia’s younger sister Euphemia, who is helping Cornelia run Japan. Soon, a battle of wits and might will erupt, and Lelouch may not be the winner this time…

So, we’ve got the next stage of the series coming along. We have Lelouch’s pride nearly becoming his downfall, and some good stuff happening, with a bit of comedy, a bit of action, and a bit of moral ambiguity. True, I’m still not fond of the military aspect of it per se, but still, I managed to enjoy it.

In terms of characters, we’ve got some interesting interactions between Lelouch and Suzaku. We also have the interactions between Lelouch and CC (pronounced ‘Cee-Two’ rather than ‘Cee-Cee’), played by Kate Higgins, in a different role to the character of Saber from the original dub of Fate/Stay Night. CC certainly has an enigmatic air about her, with her mysterious speaking to herself setting up for the future. Also good are Mary Elizabeth McGlynn in a different role to Motoko Kusanagi from Ghost in the Shell: Stand Alone Complex as Cornelia and Michelle Ruff as Euphemia, not to mention Michael McConnohie as the brutal Charles, Emperor of Britannia.

The animation is still pretty damned good. Admittedly, I think they are reusing the CGI sequences for the Geass effect too often. They should know when to just do the basics than to show off flashy CGI time and time again, unless they’re doing it to bring up the running time of the episode. And the character design still takes some getting used to.

Overall, these episodes of Code Geass were enjoyable enough. I just want it to continue being that way, or at least better…

****

 

[Quatermass]

Okay, I'll be honest, I was using this to do reviews of stuff I have watched/listened to before, but I'm frankly sick of doing that. So, there'll be no longer any 'repeat' reviews. So season 2 of Game of Thrones won't be reviewed. Neither will the vast majority of Doctor Who stories, at least the televised stuff (I'm yet to watch The Reign of Terror, the animated version of The Power of the Daleks, The Underwater Menace DVD release, The Enemy of the World...and a good chunk of Capaldi's time as the Doctor).

 

[Quatermass]

REVIEW: Doctor Who: The Cannibalists by Jonathan Morris

TYPE: Audio drama

DETAILS: 8DA 3.06, 2X30 minute episodes


So, after a VERY long time, I’ve come back to listening to the Big Finish audio dramas. But would my choice of a re-entry into them be any good? Time, then, for The Cannibalists…

The Haven, a massive space station that was intended for human settlement, but hasn’t known humans for years. Rampaging through the streets are corrupted maintenance drones called the Cannibalists, led by the brutal Titus, who are targeting any robot drone they find and brutally disassembling them alive for spare parts. And unfortunately for the Doctor and Lucie, humans are not safe from them. As Lucie finds herself with the Assemblers, the senescent leaders of the robots who have been waiting for humans for a long time, the Doctor falls in with Servo, a robot who has free will, and an inclination to poetry. But the Doctor soon discovers that Haven holds another secret, one which could be either the salvation, or the downfall, of the robots…

Okay, let’s face it, the story isn’t actually that complex. I mean, it is difficult to fit a complex story into about an hour’s worth of episodes, but still, you’d think it’d be better. And the story itself does feel…a little by the numbers. It’s still very enjoyable with lovely dialogue and interesting themes, but it’s been done before, and better.

The real drawcard of the story is the characters. Paul McGann is a delight as usual as the Doctor, while Sheridan Smith has clearly hit her stride as Lucie Miller, being less irritating than usual. Of the guest stars, the best ones are Phil Davies as the brutal Titus, and Phill Jupitus as the good-natured Servo.

Production-values wise, well, it’s a pretty minimalist production. This isn’t a bad thing by any means, and what is used helps create the soundscape. While I thought the robot voices could have done with a bit more treatment, I still think that what was done at least allows their dialogue to be perfectly discernible…most of the time.

Overall, while not as good as I had hoped, and a rather simple story, The Cannibalists is actually quite a charming one all the same.

***½

 

[Quatermass]

REVIEW: X-Men: First Class by Ashley Edward Miller et al, from a story by Sheldon Turner and Bryan Singer

TYPE: Movie

DETAILS: 130 mins

After the second X-Men film, I sort of got bored with the series. And given the reception of the third film, it’s little wonder I didn’t head back. Still, with the reboot of sorts, and new stories to watch, I thought I’d give X-Men: First Class a go…

In 1944, a young Erik Lensherr is forced into cruel experiments involving his powers by the mysterious Klaus Schmidt, really Sebastian Shaw, working as a doctor at a Nazi death camp. At the same time, young telepath Charles Xavier brings shapeshifting mutant Raven into his family. Now, in 1962, at the height of the Cold War, Charles is finishing a doctorate in Oxford, hoping to bring about acceptance of Mutants, with Raven by his side. But CIA agent Moira MacTaggert has found out that Sebastian Shaw seems to have more influence over the US military than he should…and that he leads a secret cabal of Mutants. Teaming up with Charles and Raven, and recruiting the vengeance-obsessed Erik along the way, MacTaggert recruits them into the paranormal division of the CIA, known as Division X. Will Erik and Charles’ philosophies diverge, or lead them to bonding together? What are Shaw’s plans? And can a disparate group of Mutants stop the Cuban Missile Crisis from escalating into World War III?

I have to admit, I was impressed. I’m a little leery of period pieces, even if they’re done as science fiction or fantasy movies or series, and yet, I liked this story. True, I think some more could have been done with the characters, that many of the characters fell by the wayside in order to develop Charles, Erik and Raven more, and I think a few scenes that were cut out could have been left in, like more of Charles and Moira’s romance, but hey, most of it’s good stuff.

While the recast characters are different to how other actors portrayed them, this is, with all due respect to the likes of Patrick Stewart and Ian McKellen (and they are due a lot of respect), a good thing. James MacAvoy as Charles Xavier is a breath of fresh air, and while I think more could have been done to portray Erik Lensherr’s humanity in terms of the script, Michael Fassbender nonetheless does a damned good job. So too does Jennifer Lawrence as Raven, giving the future Mystique a humanity that was lacking in a role that could have been all about titillation. Of the remainder of the cast, it is Kevin Bacon as the malevolent Sebastian Shaw, Rose Byrne as Moira MacTaggert, and Nicholas Hoult as Hank McCoy who stand out.

With the production values, well, this film is stellar. Everything is on par. I actually was amused to learn that the director of the very violent Kick-Ass was the director here, and the action scenes work out, the special effects are seamless, and production design just, well, works. It feels both fresh, and yet of a piece with the previous films.

Overall, while not perfect, this was a bloody good film. I’m actually wanting to watch more of them…

****½

 

[Quatermass]

REVIEW: Doctor Who: Phantasmagoria by Mark Gatiss

TYPE: Audio drama

DETAILS: 6P/A, 4X20 minute episodes

The earlier Big Finish audios, at least the first couple of years, weren’t always the best ones. This was, at times, due to the sound production, which Big Finish was still refining, and partly due to the writers feeling their way. But how would the second Big Finish Doctor Who story fare?

March 1702, London and King William III is freshly dead. At the Diabola Club, well-to-do men while away their nights with wine, women, and wagers, with the Sir Nikolas Valentine occasionally playing games with those who catch his eye. Meanwhile, Dr Samuel Holywell investigates both spiritual matters and strange disappearances, attended to by his maid, Hannah Fry, and the famed footpad Major Billy Lovemore stalks the streets. Into this mess come the Fifth Doctor and Turlough, who soon get embroiled in events after they witness a gambler who played with Valentine seemingly pursued by diabolical spirits. What is Valentine’s true plans? What link does he have to atrocities on another world years ago? And will the Doctor gamble with his life and come up short?

Okay, as far as stories go, it’s a pretty simple one, not helped by the shortened episode length. It also seems to take elements from the Second Doctor story The Krotons and the classic story The Talons of Weng-Chiang, and a precursor to what Gatiss would do with the new series episode The Unquiet Dead. That being said, it’s actually quite a perfectly good story, with some interesting concepts, a nice twist, and even a bit of humour.

Peter Davison and Mark Strickson are on fine form as the Doctor and Turlough. I have to admit, most of the performances are a touch theatrical, though to be honest, it suits the story. David Ryall is chilling as the urbane and sinister Valentine, while David Walliams and Mark Gatiss have some interesting turns as Flowers and Jeake respectively. I do think Steven Wickham could have toned down his performance as Holywell a little, but Julia Dalkin is great as Hannah, especially once the twist is revealed.

Sound-design wise, well, for such an old Big Finish story, this one isn’t too bad. True, there are times when the effects of the ‘spirit horde’ drown out the dialogue too much, which is bloody annoying, and some elements sound a little too cheap and not cinematic enough, but these are mere quibbles. I have to confess to being pleasantly surprised by Phantasmagoria’s production values.

Overall, I enjoyed Phantasmagoria. And I hope to get more Big Finish audios I haven’t listened to off the ‘to-listen’ list…

****

 

[Quatermass]

REVIEW: Doctor Who: Caerdroia by Lloyd Rose

TYPE: Audio drama

DETAILS: 8U, 4X25 minute episodes

So, I come to yet another Big Finish audio story. Having listened to the denouement and the beginning of the Divergent Universe arcs, I thought I would listen to another. But how would Caerdroia fare?

The Doctor, Charley and C’rizz have been wandering the Divergence’s experimental zones, shepherded by the Kro’ka, the Divergence’s agent. But the Kro’ka’s impatience and desperation gets the better of him, and an attempt to invade the Doctor’s mind has the Doctor turning the tables, managing to get some answers out of him. To find the Divergence, the Doctor must head to Caerdroia, their base of operations, a world where a castle is everywhere. But when he and his companions arrive at their destination, they are disappointed…and astonished. Disappointed, because they can’t find the castle…and astonished, for the Doctor has split into three entities: his rational side, his enthusiastic side, and his pragmatic side. But even three Doctors may not be able to penetrate the mystery of this world, with a maze at its centre…along with a monster…

In some regards, this story is a bit like a successor to the Fifth Doctor’s debut story, Castrovalva (a recurring enemy creating a trap out of a maze-like city, the Doctor struggling through some sort of instability). And yet, it’s actually quite a good story. Simple, true, but in an elegant and neat way, with the right kind of symbolism and a good wrapping up of this part of the story arc. Plus, there’s some examination of the Doctor’s character.

Most of the story is carried by a minimal cast, including India Fisher as Charley and Conrad Westmaas as C’rizz. Stephen Perring is at his best as the Kro’ka, at times desperate and sinister and snivelling, as well as the various guises. But it is Paul McGann who gets to show off as three different versions of the Doctor, including a hyperactive one called ‘Tigger’, and a pragmatic one dubbed ‘Eeyore’.

Sound design is up to the usual Big Finish norm. Everything contributes to the usual cinematic whole, and the voice lines are clear, for the most part, and even the times when they’re not have good reasons for them. Overall, I really can’t find much to fault this story.

Caerdroia, while simple, nonetheless manages to impress and entertain. And that was all that was needed…


*****

 

[Quatermass]

REVIEW: JoJo’s Bizarre Adventure Episode 1: Dio the Invader, Episode 2: A Letter From the Past, Episode 3: Youth with Dio and Episode 4: Overdrive by Yasuko Kobayashi and Shougo Yasukawa, from the manga series by Hirohiko Araki

TYPE: TV series

DETAILS: JJBA1.1-1.4, 4X25 minute episodes

Well, having read the first two volumes of the Phantom Blood arc of the manga, and the first volume of the Battle Tendency arc, it’s inevitable that I would come to the recent David Production adaptation of JoJo’s Bizarre Adventure. The manga wasn’t without its faults, but I found the story intriguing enough to want to try the anime. Time would tell whether that was a wise decision…

19th Century England, and wealthy aristocrat George Joestar has adopted Dio Brando, the orphaned son of a man George believed saved his life. Unbeknownst to George, Dio intends to usurp the place of George’s son, the immature Jonathan ‘JoJo’ Joestar. Dio’s initial attempts to cause JoJo trouble backfire, but when Jonathan later uncovers a plot to poison his father years later, Dio is forced to turn to a mysterious Stone Mask, one that grants him an unnatural power…the power of a vampire! Can JoJo ever hope to defeat Dio?

The story is, well, intriguing enough, though ridiculously over the top. It helps that the producers of the dub made the language more florid and with more English idioms. This helps the rather thin on the ground plot.

Many of the characters are given slightly stilted, very hammy performances, which is a little offputting, though there are some good casting decisions made, regardless. Johnny Yong Bosch was an inspired choice as JoJo, I have to say, as is Patrick Seitz as Dio. Of the remaining cast, I’m most impressed with BJ Oakie as Zeppeli.

Where the series truly shines is production values. The colour scheme could be considered garish in many regards, and the frequent display of sound effects as onomatopoeia in Japanese could easily become annoying, and yet, it actually feels like we have seen the manga come to life, with the animation delightfully over the top in a way that feels right. Plus, the opening titles and the accompanying music, Sono Chi no Sadame, is a great opening theme.

Overall, I had to admit that I enjoyed the first few episodes of JoJo’s Bizarre Adventure. Here’s hoping the next few are as good…

****

 

[Quatermass]

REVIEW: Fate/Stay Night: Unlimited Blade Works: Episode 14: Princess of Colchis, Episode 15: A Battle of Legend, Episode 16: Winter Days, The Form Wishes Take, Episode 17: The Dark Sword Bares Its Fangs, and Episode 18: The Beginning of the Circle by Kinoku Nasu, based on the visual novel by Kinoko Nasu and Takashi Takeuchi

TYPE: TV series

DETAILS: FSNUBW15-19, 5X25 minute episodes

So, finally, I’ve resumed my watching of Fate/Stay Night: Unlimited Blade Works. Having stopped at more or less halfway, it was past time that I began going towards the climax. And this was where, hopefully, things got really good…

Archer’s betrayal have left Rin and Shirou in a bind, with them deciding to ally themselves with Illyasviel von Einzbern. While Caster, aka Medea of Colchis, contemplates her past, Illya and her servants are attacked by Gilgamesh, with Heracles falling to Gilgamesh’s onslaught and Illya having her heart ripped from her chest. As Rin and Shirou make the hard decision to try and attack Caster once more, Lancer turns up and unexpectedly offers his help. But even if Caster can be defeated, there is still Archer to consider, with his own agenda, one that will ensure that Shirou will not live past the Grail War…

Well, this story arc is pretty brutal, with more characters dying, as well as insights into the past of at least three of them. I had to admit to enjoying these five episodes immensely, though they weren’t exactly perfect. I personally think that the Medea interlude, nice as it was to show her motives, could have been cut by a minute or two, as all it really seemed to show was how much of a dingus her original Master was. Still, there’s the awesome reveal of Unlimited Blade Works, as well as the hints of the relationship between Shirou and Archer.

Bryce Papenbrook as Shirou and Mela Lee as Rin get quite a bit of development here, especially with Rin calling out Shirou’s twisted, suicidally self-sacrificing attitude. But we also get quite a bit from Stephanie Sheh as Illya and Megan Hollingshead as Medea, especially in their flashback sequences, with their ends rather tragic, despite their villainy in this version of events. And there’s Kaiji Tang as Archer, showcasing the Servant’s Machiavellian tendencies and shifting loyalties.

Production values are, as usual, brilliant. True, the fight scenes aren’t quite as good as some of the previous ones, but still, they can be pretty damn spectacular. And the animation and direction looks brilliant, especially when Unlimited Blade Works finally makes an appearance for the first time.

Overall, these five episodes of Fate/Stay Night: Unlimited Blade Works were immensely enjoyable. Not perfect, but hey, they worked out…

****½

 

[Quatermass]

REVIEW: JoJo’s Bizarre Adventure Episode 5: The Dark Knights, Episode 6: Tomorrow’s Courage, Episode 7: Sorrowful Successor, Episode 8: Bloody Battle! JoJo and Dio and Episode 9: The Final Hamon by Yasuko Kobayashi, Kazuyuki Fudeyasu and Shougo Yasukawa, from the manga series by Hirohiko Araki

TYPE: TV series

DETAILS: JJBA1.5-1.9, 5X25 minute episodes

So, now I’ve come to watch the latter half of the Phantom Blood arc of JoJo’s Bizarre Adventure. Most of these episodes adapt the volume of the Phantom Blood arc I am yet to read, so coming to these is quite novel for me. But would that be enough to sustain my interest?

JoJo may have disposed of Jack the Ripper, but Dio has many other minions at his command. A brainwashed boy called Poco lures them into a trap, where Dio cripples Zeppeli, and sets two revived knights from Elizabethan times, Tarakus and Blueford, onto JoJo. But the battle will be hard won, and even when they go to face Dio, not everyone will survive. Dio and JoJo’s fates are intertwined, and it may be that both won’t live beyond their final battle…

Storyline-wise, it seems to have devolved into little more than a series of battles, with the plot thin on the ground. While not necessarily a bad thing, and there’s plenty of good scenes and enjoyable sequences, it’s filled with clichés from fiction in general, and the shounen genre in particular. That being said, the dialogue for the dub is still pretty impressive and florid.

The characters, as noted before, deliver their lines in a particularly stilted and hammy manner that does take getting used to, but is certainly suited to the style of the series. I mentioned before the talents of Johnny Yong Bosch as JoJo, Patrick Seitz as Dio, and BJ Oakie as Zeppeli, which continue on to perform well for these episodes. Michelle Ruff as Erina actually gets to show off more of her performing skills in the final episode of the arc, while Tony Oliver as Blueford and Amanda Miller as Poco do well.

Once more, it’s the production values of the series that do the best. The animation is beautiful and atmospheric, and the stylisation of sound effects is now part of the charm of the series. In addition, there’s some wonderful choreography of the fight scenes, even if it’s highly stylised.

Overall, great production values help elevate what was, admittedly, a story-thin but action-heavy second half to the Phantom Blood arc of the series. Now, here’s hoping that the Battle Tendency arc is more interesting…

***½

 

[Quatermass]

REVIEW: Fate/Stay Night: Unlimited Blade Works: Episode 19: Idealism’s End (The Answer), Episode 20: UNLIMITED BLADE WORKS, and Episode 21: Answer by Kinoku Nasu, based on the visual novel by Kinoko Nasu and Takashi Takeuchi

TYPE: TV series

DETAILS: FSNUBW20-22, 3X25 minute episodes

So, here I am, coming to the final stretch of Fate/Stay Night: Unlimited Blade Works. Okay, these aren’t the final episodes, but the end isn’t far off, and important revelations are in these episodes. And I’ve been looking forward to them for a long time…

With Rin held hostage by Archer, Shirou and Saber go to confront the wayward Servant, now knowing his true identity. For Archer is actually a future version of Shirou himself, the Counter Guardian EMIYA, condemned to be an agent acting against any threats to humanity…and now utterly sick of his existence. Archer believes that his only recourse is to either break Shirou’s belief in his ideals…or kill him, and hope that the temporal paradox erases him too. But Shirou, even in the face of a stronger version of himself, refuses to give up, and it becomes a clash of different versions of the same ideal as much as it is a clash of blades. Meanwhile, Rin has been left to the non-existent mercy of Shinji Matou, but when Lancer comes to save her, his true Master, Kirei Kotomine, arrives, and he has an agenda of his own…

Wow. This is a brilliant set of episodes. We finally have the big reveal of Archer’s true identity after a large amount of hints, as well as a battle that is as much about the ideology of Archer and Shirou as much as it is about the battle itself. Everything works so damned well, it’s beautiful.

Much of the episodes are carried between Bryce Papenbrook as Shirou and Kaiji Tang as Archer. The sheer conviction these two have as they act against each other is astonishing. Everyone else does a pretty good job, but these two are the stars of these episodes.

As usual, Ufotable does a superlative job in the production of these episodes. The fight between Shirou and Archer, along with flashbacks to key points in their life, are beautifully and emotively done, with brilliant effects and cinematography, all of which combine for a flawless package.

These three episodes of Fate/Stay Night: Unlimited Blade Works were excellent. The end draws near, but these episodes were perfect.


*****

 

[Quatermass]

REVIEW: JoJo’s Bizarre Adventure Episode 10: New York’s JoJo, Episode 11: The Game Master, Episode 12: The Pillar Man and Episode 13: JoJo vs the Ultimate Lifeform by Yasuko Kobayashi, Shinichi Inotsume, Kazuyuki Fudeyasu and Shougo Yasukawa, from the manga series by Hirohiko Araki

TYPE: TV series

DETAILS: JJBA1.10-1.13, 4X25 minute episodes

So, now I come to the beginning of the Battle Tendency story arc of JoJo’s Bizarre Adventure’s anime adaptation. With a new story arc comes new characters and a fresh story. But time will tell if that manages to maintain my interest…

1938. It has been fifty years since Jonathan Joestar’s fateful, and fatal, confrontation with Dio Brando. Speedwagon, now a tycoon and the founder of the Speedwagon Foundation, has found more Stone Masks surrounding a mysterious living sculpture of a man, but is betrayed by former ally Straizo, who uses one of the Stone Masks to change into a vampire, and heads to New York to attack Jonathan’s grandson, the brash, cocky Joseph Joestar. But even if this new JoJo prevails against the treacherous Straizo, he has another problem to deal with: the Nazis are interested in the mysterious living sculpture, a hibernating entity known as a Pillar Man. But the Pillar Man may be too much for the Nazis, and for Joseph Joestar…

The story is actually not too bad. True, it has the same shounen clichés and overblown ham, and there’s more than a few asspulls that get annoying after a while. The plot itself is also rather thin, just action and incident. Still, the concept of the Pillar Men alone, as super-vampires, is pretty damn good, and the dialogue is pretty damned good.

Much of the story is carried by entertaining characters, even if the performances, as with the last story arc, can be pretty stilted in their hamminess. While Joseph came across as more abrasive in the original manga, Ben Diskin’s performance makes him endearing even when he is being cocky, while Dan Woren is clearly having the time of his life, chewing the scenery as Stroheim. Kaiji Tang is also well-cast as Sanviento, the first Pillar Man.

It’s the production values that truly steal the show. David Productions has to be commended for the animation style, an excellent continuation of the style used for the first story arc. Everything pretty much comes together in a coherent whole, making the manga’s images come to life.

Overall, these four episodes of JoJo’s Bizarre Adventure were enjoyable. Not perfect by any means, but certainly entertaining.


****

 

[Quatermass]

REVIEW: Fate/Stay Night: Unlimited Blade Works: Episode 22: Winter Days, A Long Way Home, Episode 23: Incarnation, Episode 24: Unlimited Blade Works, and Episode 25: Epilogue by Kinoku Nasu, based on the visual novel by Kinoko Nasu and Takashi Takeuchi

TYPE: TV series

DETAILS: FSNUBW23-26, 4X25 minute episodes

At long last, I come to the last episodes of Fate/Stay Night: Unlimited Blade Works. After such a long journey through this excellent anime series, only one question remains. Would it go out with a bang, or a whimper?

Gilgamesh’s insane plan to unleash the tainted Holy Grail’s power on the world has been revealed. Shirou, Rin and Saber resolve to stop him, but when Saber’s attempt to distract Gilgamesh fails, Shirou himself must step up to the plate. As Rin struggles to extract Shinji from the Grail, Shirou is facing the most powerful Servant, but one he is uniquely suited to match. Can he draw upon the potential within himself, including Unlimited Blade Works? Or is he doomed to fall, and the world soon to follow?

Wow. What a climax. Everything just…comes together in just the right way. True, it didn’t quite have the same emotional impact as the prior set of episodes, or at least the same kind of it, with the sentiment in the ending having a more muted one. But it’s still damned good.

Once more, the actors rise to the challenge. We have not only Shirou and Rin finally admitting their love to each other, with Bryce Papenbrook and Mela Lee doing well in that sequence, as well as in the epilogue. Kari Wahlgren gets a fitting send-off as Arturia, while David Vincent’s Gilgamesh is a good villain for the climax.

What can I say about Ufotable’s production values that I haven’t already? True, the fight between Shirou and Gilgamesh isn’t quite as spectacular as the one he fought against Archer, but it’s still pretty damned good for a climactic fight. Not to mention the astonishing ending to the battles.

Overall, the last four episodes of Fate/Stay Night: Unlimited Blade Works were a great end to a great series.

*****

 

[Quatermass]

REVIEW: Code Geass: Lelouch of the Rebellion Episode 8: The Black Knights and Episode 9: Refrain by Ichirou Okouchi

TYPE: TV series

DETAILS: CGLR1.8-1.9, 2X25 minute episodes

Well, it’s been a while since I’ve tried watching Code Geass. So I decided to concentrate on the next two episodes, revolving around the debut of the Black Knights. But would they be any good?

Lelouch has finally decided to recruit the resistance cell Kallen was part of, as the core members of his new anti-Britannia organisation. Dubbing them knights of justice, the Black Knights, Lelouch soon finds his new allies put to the test when a faction of the Japanese Liberation Front takes control of a hotel. Amongst the hostages includes his friends from school…and his half-sister Euphemia, the only thing standing between the terrorists and the hotel being sent to kingdom come by the ruthless Cornelia. And even if they do succeed, they have another target: the insidious drug known as Refrain, whose effects hit rather close to home for Kallen…

These two episodes are fairly disparate, but they have a fairly big impact, even if some parts, especially of the first one, feel a little rushed. Still, the first does have some pretty good action sequences, and the second has a great emotional core as Kallen struggles with the feelings she has for her Japanese mother. The episodes were thus satisfying, though not stellar.

We of course have the great performance of Johnny Yong Bosch as Lelouch. However, the best performance in these episodes have to go to Karen Strassman as Kallen, especially in Refrain. This examination of her character allows Strassman to really get into the groove.

As for the production values, the animation is pretty good. Not quite as exciting as it could be, though the action scenes at the climax of the second episode are fine. It all works well, not greatly, but well.

Overall, these two episodes of Code Geass were good. But I hope it picks up soon…

****

 

[Quatermass]

REVIEW: Berserk: The Golden Age Arc I- The Egg of the King by Ichiro Okouchi, from the manga by Kentaro Miura

TYPE: Movie

DETAILS: 75 mins

How does one get to even darker fantasy than the likes of, say, A Song of Ice and Fire and its TV adaptation Game of Thrones? Berserk, an infamously dark manga series by Kentaro Miura, seems to be the answer. Recently, the Golden Age Arc of the manga was adapted into a trilogy of films, of which I decided to watch at least the first instalment. But given that this arc was already adapted into an earlier TV series, would this be redundant?

Guts is a young lone mercenary with a dark and troubled past, wandering the battlefields of Midland, never staying with one master for too long. However, he catches the attention of the Band of the Hawk mercenaries, and its charismatic leader, Griffith. Conscripted into the Hawks, Guts’ impulsive nature gets him into trouble as well as out of it, and his relationship with the sole woman in the Hawks, Casca, is a turbulent one. Court politics, demonic warriors, and Griffith’s mysterious talisman, the Behelit, all seem to be pointing towards an ominous future…

Given that this seems to be a somewhat abridged version of the source material, there’s some nuances and subtleties lost here. I admittedly haven’t read the relevant chapters of the manga, but considering that this movie covers events that took the TV anime about nine episodes to cover, there was presumably a lot cut out. Some of the darker and edgier elements seem rather gratuitous, to say the least. That being said, it does have more to it than gratuitous violence, with courtly intrigue and philosophy of the nature of conflict and camaraderie being discussed, the emotional moments generally hit the mark more often than not, and the story, such as it is, is enjoyable enough, with hints of more to come.

The characters are certainly what help drive the series. Marc Diraison as the brutal Guts gives him both a rough edge, and yet an ability to be tender, while Kevin T Collins gives Griffith the right mixture of affability and ruthlessness, and even humanity. It takes rather too long, in my opinion, for Casca to become likeable, not until the last few scenes, but Carrie Keranen does well as the fiery female fighter.

I know a lot of people out there have mixed feelings about the heavy use of cel-shaded CGI for the movie. I do share some of their concerns with some of the sequences, with the CGI not hitting the mark as much as it should, but for others, it gives the film an interesting edge that sets it apart from other anime. The direction of the fight scenes are brilliant, and the music suitable to such a fantasy series.

Overall, this first instalment of the Berserk films is definitely not for everyone. Its relatively thin story and dark themes and atmosphere will doubtless put many off it. But it’s an enjoyable enough fantasy, with a promise of more to come…


***½

 

[Quatermass]

REVIEW: Berserk Episode 1: The Black Swordsman, Episode 2: Band of the Hawk, Episode 3: First Battle and Episode 4: The Hand of God by Yasuhiro Imagawa, from the manga series by Kentaro Miura

TYPE: TV series

DETAILS: B971.1-1.4, 4X25 minute episodes

Having watched the first Golden Age movie, I decided to watch the first episodes of the first anime adaptation of Berserk. Of course, with it being an older anime series and done on a low budget, I was more interested in watching it for the storyline. But would that turn out well?

A lone swordsman called Guts wanders bleak lands ruled by a tyrant, haunted by demons both literally and figuratively. Long ago, he was a mercenary, raised as a child soldier. Spotted by Griffith, the charismatic leader of the Band of the Hawk, Guts finds himself conscripted into Griffith’s service, one where he might find what he has been looking for all along…

The story is a fairly rough one, but I have to admit, there’s a lot of moments here, little touches and the like, that were absent in the movie. This is actually to the benefit of the TV show, and while there’s some stilted moments that are a little jarring, it feels right. So the story, overall, was promising.

The characters were also good. While the English dub is not quite as good as the movie, this is probably more due to the actors not quite getting into the characters, and I enjoyed Marc Diraison, Kevin T Collins, and Carrie Keranen as Guts, Griffith and Casca respectively. Indeed, this adaptation has little moments that add nuances to the character that weren’t there in the movie.

In the end, where this series falls down is in the production values. Old animation in general rarely ages well, and this series does show its age, even when restored. It was clearly done on a budget, and the fight choreography is inferior to the later movie. What’s more, the dub sometimes gets lazy about matching lip flaps if they’re distant enough. This isn’t to say that the animation is all bad, there’s quite some good moments and some very good visual choices. I just think that the series hasn’t aged well.

Overall, the first few episodes of the first Berserk adaptation were good on the story end, but let down by badly-aging animation and low production values. A shame, really…

***½