The Quatermass All-Purpose Media Review Thread

[Quatermass]

REVIEW: My Hero Academia Season 2 Episode 13: Time to Pick Some Names, and Episode 14: Bizarre! Gran Torino Appears by Yosuke Kuroda, from the manga by Kouhei Hirokoshi

TYPE: TV series


DETAILS: MHA2.13-2.14, 2X25 minute episodes

It’s been some time since I watched the anime adaptation of My Hero Academia, and it’s well past time I started again. How would watching the beginning of the next arc fare after such a long absence?

After the UA Sports Festival, Izuku Midoriya and his classmates find themselves rather popular. And after choosing their tentative hero names, they find themselves embarking on internships. Izuku gains an offer from All Might’s brutal mentor Gran Torino, but can the eccentric and possibly senile old man help him? Meanwhile, Tenya Iida starts down a dark path, one that could end in his demise…

The story is a pretty good adaptation of the beginning of this arc. The drama and the comedy are balanced well. True, it’s by no means perfect, with there being little plot, just exposition and worldbuilding in a transition phase to the next arc, but still, it works well.

Justin Briner is, as always, superlative as Izuku Midoriya, and so too is Christopher Sabat as All Might. Charles Campbell makes an interesting debut in these episodes as Gran Torino. The rest of the cast does well, though I feel Robert McCollum has lost the more promising elements of his debut as Stain.

Production values are pretty good, as usual. A particular highlight is Izuku’s first spar with Gran Torino, brief though it is. Everything works together as a coherent whole, even if these episodes aren’t as action-packed yet.

Overall, these were a good beginning to the next arc of My Hero Academia. Hopefully, I will continue…


****

 

[Quatermass]

REVIEW: The Sandman, Chapter 2: Imperfect Hosts by Allan Heinberg, from the comics by Neil Gaiman et al.

TYPE: TV series

DETAILS: SM1.2, 1X35 minute episode

So, after a significant hiatus, I finally got back around to watching the Netflix adaptation of The Sandman. But how would the second episode fare? Let’s find out…

Morpheus, aka Dream of the Endless, is upset at the state of the Dreaming, and in order to restore it, he needs his relics, tools that contain much of his power. However, to do so requires that he sacrifice the life of the Gargoyle Gregory, to seek audience with the Fates, something his underlings Cain and Abel aren’t happy about, given their attachment to the Gargoyle. Meanwhile, the Corinthian confronts Ethel Dee, the last person known to have Morpheus’ tools, intending to ensure Morpheus can’t regain them…

This episode’s weakest element is the plot. I do think some elements could have been merged with later episodes, as this feels like a transition between story arcs, though to be fair, this is partly a fault of the original source material, even when expanded upon. True, it’s not actually bad, and has some wonderful emotional moments and fantastic setpieces.

Tom Sturridge, as proven by the first episode, is going from strength to strength as Morpheus, while Boyd Holbrook as the Corinthian and Vivienne Acheampong as Lucienne build on the success of their prior appearances. Sanjeev Bhaskar and Asim Chaudry are pretty damn good as Cain and Abel respectively, giving some much-needed humanity and nuances to the comic characters’ dysfunctional relationship. Finally, David Thewlis makes his debut as the creepy and yet pathetic John Dee, with the promise of more to come.

Production values are, as before, utterly superb. The sheer fantastical scope of the Dreaming is given full force, and the special effects are on par to deliver that scope. A particular highlight is the sequence where Morpheus summons the Fates.

Overall, while nowhere near as good as the first episode, this episode of The Sandman is a decent transition to the later story arcs. Here’s hoping it goes back to its original giddy heights…


****

 

[Quatermass]

REVIEW: House of the Dragon: Episode 3: Second of His Name and Episode 4: The King of the Narrow Sea by Gabe Fonesca, Ryan Condol, and Ira Parker, from the works of George RR Martin

TYPE: TV series

DETAILS: HOTD1.3-4, 2X60 minute episodes

It has been some time since I watched House of the Dragon. But would absence make the heart grow fonder as I delve deeper into this prequel of Game of Thrones? Or would it not work out?

For three years, Daemon Targaryen has helped the Velaryons try to defeat the Crabfeeder and his corsairs. Meanwhile, Rhaenyra, despite her father’s claims, feels her position as the heir to Viserys has become tenuous with the birth of her half-brother Aegon, and to her estranged friend Alicent Hightower. Having seen what motherhood did to her own mother, Rhaenyra is reluctant to wed, especially to men who won’t see her as anything but a broodmare. And Daemon’s victory and return may yet cause more cracks to appear in King’s Landing…

I have to admit, after the first two episodes, these ones are something of a letdown, albeit in a minor way. I feel that they get too bleak, too quickly, even knowing that the Dance of the Dragons is on its way, and it’s depressing to see relationships go through ups and downs so rapidly, to say nothing of the rather uncomfortable intimate scenes involving Rhaenyra in the fourth episode. But the political machinations and the character interaction is nonetheless on key most of the time. And seeing Otto Hightower get some comeuppance is welcome.

The cast is superlative. Paddy Considine works well as Viserys, portraying both his more indecisive, compromising nature, and yet managing to show the fire of the Targaryens at times. Matt Smith as Daemon is a delight as always, as is his nemesis, Rhys Ifans as Otto. Milly Alcock and Emily Carey as Rhaenyra and Alicent show their chops, especially as the respective dark sides of their characters begin to show.

Production values are superlative as before. True, there’s some noticeable hiccups, like the CGI harts in the third episode, but on the whole, there’s a lot to commend these episodes. The battles at the Stepstones in the third episode, for example, especially the climactic one, or Daemon and Rhaenyra’s often-surreal sojourn through Flea Bottom.

Overall, this was a weaker set of episodes compared to the first two. But they’re still of considerable quality and enjoyable all the same…

****

 

[Quatermass]

REVIEW: Game of Thrones Series 3: Episode 8: Second Sons, Episode 9: The Rains of Castamere and Episode 10: Mhysa by David Benioff and DB Weiss, from the novel by George RR Martin

TYPE: TV series

DETAILS: GOT3.8-10, 3X55 minute episodes

For the first time in many years, I have come back to Game of Thrones. I left the series off just before the end of the third season. But now, I have come back, to finally tick this one off the list…

In Essos, Daenerys learns that Yunkai has hired the Second Sons to stop her, only to have an unusual offer from one of their number. In King’s Landing, Tyrion is wed to Sansa, but both intend to avoid consummating it, despite pressure from Tywin Lannister. Sandor Clegane travels with Arya to return to her family for a price. And in the Riverlands, Robb and Catelyn embark on a desperate plan to regain Walder Frey’s favour, only to fall into a deadly trap…

While the ending is a little anticlimactic compared to previous seasons, it still manages to have an impact, and we’re given at least some breathing space after the infamous Red Wedding. Said event is shown for all the shocking detail that can be mustered. The story pulls no punches, but manages to bring in some small hope as well to close out the season.

The cast do very well, and honestly, the trouble is picking specific examples. Michelle Fairley and Richard Madden bow out wonderfully as Catelyn and Robb at the Red Wedding, an event that also shows David Bradley as the cruel Walder Frey. Peter Dinklage also shows his skills as Tyrion, showing his drunkenness at his wedding and during his later talk with Sansa. And Maisie Williams and Rory McCann show a surprising interplay as Arya and Sandor travel together.

Production values wise, well, what else need be said? They are superlative, and everything hits the right notes, with the two weddings featured in the episodes being particular highlights, as is the final shot of the series of Dany being surrounded by those she liberated. So too is Sam killing a White Walker, with the scene preceding it chilling and atmospheric.

Overall, these were a great end to a great season of a great show. Here’s hoping the next season keeps up the standards…


*****


(I just went back and checked. It's been over four years, it seems, since I watched Game of Thrones.)

 

[Quatermass]

REVIEW: That Time I Got Reincarnated as a Slime Episode 40: The Congress Dances, Episode 41: The Eve of Battle, and Episode 42: The Demon Lords by Kazuyuki Fudeyasu, from the light novels by Fuse

TYPE: TV series

DETAILS: TTRS2.16-2.18, 3X25 minute episodes

So, here I am, continuing the second season of That Time I Got Reincarnated as a Slime. But how would these episodes fare? Let’s find out…

Having resolved many of the issues about how to deal with Falmuth, Rimuru now turns his attention to Ramiris. She warns Rimuru that Clayman has convened a Walpurgis, a meeting of Demon Lords intended to turn opinion against Rimuru, while his forces make plans to wipe out the refugees of Euranzia in an attempt to become a True Demon Lord. Plots within plots and plans within plans begin to unravel, and while an army is sent to save Euranzia, the other Demon Lords watch on as Clayman’s plans unfold, and Rimuru counters them…

The plot, once more, is one of the parts that drags. Not quite as much as the last set, true, but there’s still a lot of exposition and plotting, and not quite enough action. It’s not bad, but I think this is a byproduct of adapting a single 200-300 page novel for six half-hour episodes, messing up the pacing.

Still, Brittney Karbowski is a delight as usual as Rimuru. An interesting newcomer, despite appearing mostly in one scene, is Anthony Bowling as the flirtatious and yet dangerous Demon Lord Guy Crimson. The rest of the cast do pretty well.

Production values are, as with previous episodes, done pretty well. True, there’s no real battle scenes, but these episodes also do a great job of visualising imagery that was never illustrated in the light novels, with Guy Crimson’s meeting with Leon Cromwell and Velzard being a case in point. There’s nothing truly spectacular, but it’s still pretty good.

Overall, these were a good transition to the next arc of the story. Here’s hoping those improve…


****

 

[Quatermass]

REVIEW: The Sandman, Chapter 3: Dream a Little Dream of Me by Jim Campolongo, from the comics by Neil Gaiman et al.

TYPE: TV series

DETAILS: SM1.3, 1X45 minute episode

Having watched the first two episodes of The Sandman, I had to confess, while an enjoyable series, I did have some mixed feelings at times. So, with that in mind, how would the third episode fare? Let’s find out…

Morpheus’ quest to seek out his missing relics brings him to troubled occultist Johanna Constantine. But the authoritarian Endless and the sardonic and jaded occultist rub each other the wrong way. Can they track down Morpheus’ pouch of sand?

Story-wise, this feels a lot better than the previous episode, which felt like it was filler in many regards. Morpheus struggling to understand humanity and his struggle to accept Matthew’s assistance go well with Constantine’s own problems. Plus, the scenes where Ethel and John Dee discuss their plight hits all the right emotional points.

Tom Sturridge, as before, is brilliant as Morpheus, giving him a serene inhumanity and authoritarian nature, while Patton Oswalt is perfect casting as the voice of Matthew the Raven. David Thewlis gets some wonderful scenes as John Dee, showing emotional complexity to this tormented and yet twisted man. One bum note was the casting of Jenna Coleman as Johanna Constantine: while she has the right amount of darkness and sardonic wit, she’s too glamorous, not scruffy enough to be a genderflipped version of John Constantine.

Still, the production values are superlative as before. Ethel Dee ageing to death, Johanna’s nightmare, and the effects of the Amulet of Protection are all done well, grotesque though they are. And even the quieter moments are great, including the final scenes where Morpheus and Johanna bid each other farewell.

Overall, this was a great, if not perfect, episode of this series. Here’s hoping there’s more to come…

****½

 

[Quatermass]

REVIEW: That Time I Got Reincarnated as a Slime Episode 43: The Signal to Begin the Banquet, Episode 44: On This Land Where It All Happened, and Episode 45: Adalmann, The Index Finger by Kazuyuki Fudeyasu, from the light novels by Fuse

TYPE: TV series

DETAILS: TTRS2.19-2.21, 3X25 minute episodes

So, here I am with the next lot of episodes of That Time I Got Reincarnated as a Slime. How would these episodes fare? Let’s find out…

With Rimuru accompanying Ramiris to the Walpurgis meeting between the Demon Lords, his forces intend to make their own attack on Clayman’s interests. While Clayman’s forces attacking Euranzia are intercepted by Benimaru’s own forces, Shuna, Hakurou and Souei undertake a dangerous mission into Clayman’s own territory. Both sets will face one of Clayman’s elite servants, the Five Fingers: Benimaru and his allies must face the cruel Yamza, while Shuna, Hakurou, and Souei are forced to face the undead mage Adalmann…

While mostly filled with battles than exposition or plot, and thus lacking in the latter, this still manages to overcome the hump of the previous episodes in this part of the season. Not only do we get to see one of Clayman’s more obnoxious lieutenants get his comeuppance, but we have Shuna finally showing how awesome she can be with a bit of lateral thinking, with the moment from the novels having as much impact on the screen. And we have the final scenes showing the beginning of Walpurgis, promising much for the final episodes of the season.

While Brittney Karbowski does well as Rimuru as usual, Rimuru doesn’t appear as much in these episodes. Instead, the story is carried more by others. Ricco Fajardo as Benimaru, Tia Ballard as Shuna, Stephen Fu as Phobio, and Elizabeth Maxwell as Albis are particularly enjoyable.

The production values are pretty good. True, there’s none of the ridiculously dynamic camera work present on some other shows by other production companies like UFOtable, but many of the fight scenes are spectacular. Some highlights include Benimaru putting paid to the smug Yamza, now forcibly changed into a copy of Charybdis, or Shuna showing Adalmann how outmatched he is.

Overall, these were good episodes of this series. And the finale promises to be as good, if not better…

****½

 

[Quatermass]

REVIEW: Red Dwarf: The Promised Land by Doug Naylor.

TYPE: Movie

DETAILS: 85 mins

I have to confess, I feel that, starting from the recent revival of the series, Red Dwarf has jumped the shark. An ageing cast and repetitive storylines have alienated me from a series I loved. But I heard about a TV movie special, one that could potentially breathe new life into the series…

The crew of the Red Dwarf are listless, but they soon find themselves forced to flee the ship when a reactivation of Holly from his backup disk leads to him being decidedly less friendly. Heading to the abandoned ship Iron Star, the Boys from the Dwarf intend to make it their new home. The problem is, a group of the Cats have arrived, worshippers of Lister who have fled from the cruel tyrant of the Feral Cats, Rodon. And this Cat with a god-complex will stop at nothing to wipe out anything that detracts worship away from him…

I have to admit to some ambivalence. On the one hand, there’s no getting away from the tiredness of the series, the pacing can be odd and some jokes definitely fall flat. On the other hand, the story is funny more often than not, and it shines a light into a corner of the series that hasn’t been explored as much as it should have: namely, the culture of the Cat people. What’s more, the setups for the denouement are expertly done, with nothing feeling like it was pulled out of thin air.

Despite their age being increasingly blatant, Craig Charles, Chris Barrie, Danny-John Jules and Robert Llewellyn show their chemistry has never gone away. Each of the regulars have something to do. The same can’t be said about Norman Lovett as Holly, whom I feel was underutilised for such a popular character. More welcome is Ray Fearon as the vicious Rodon, and Mandeep Dhillon as persecuted Cat cleric Sister Luna.

Production values are a little shakier. True, the sets have the feel of the old series, as does the music, with some interesting sight gags for the Cat spaceships. But some special effects look cheap by today’s standards. Others, however, are better, with Rimmer’s monochrome mode being not only a nod to the original intention for the character, but also pretty well done.

Overall, while not stellar, The Promised Land was a good continuation of Red Dwarf. Perhaps it would make a good denouement for the series as a whole…


****

 

[Quatermass]

REVIEW: That Time I Got Reincarnated as a Slime Episode 46: Demon Lords’ Banquet: Walpurgis, Episode 47: Returning from the Brink, and Episode 48: Octagram by Kazuyuki Fudeyasu, from the light novels by Fuse

TYPE: TV series

DETAILS: TTRS2.22-2.24, 3X25 minute episodes

Now, at long last, I come to the final episodes of the second season of That Time I Got Reincarnated as a Slime. But how would these episodes fare? Let’s find out…

Rimuru Tempest is attending the Demon Lord meeting known as Walpurgis, where his nemesis Clayman is falsely accusing him of many crimes. Rimuru, however, intends to hold Clayman to account, for the attack on Tempest he engineered, for his control of Milim Nava, and his manipulations of Mjurran and Frey. What follows will be a battle between Rimuru and his friends’ overwhelming power and skills, and Clayman’s cruelty, cunning, and lack of scruples…

At long last, the story comes to a climax long coming: Clayman’s well-deserved and well-overdue comeuppance. While it is dragged out a little, that’s not wholly a bad thing, and while much of the final episode is about the fallout, it still works pretty well. Indeed, it was very satisfying.

So too was the cast. Brittney Karbowski is, as usual, great as Rimuru, while John Burgmeier goes out with a bang as Clayman, though I question the wisdom of allowing us to feel any sympathy for him. Chris Rager is clearly having the time of his life as Veldora, shouting out Street Fighter and Dragonball references, and Kristen McGuire shows Milim’s energy and childishness.

The production values are superlative. True, I expected the final fights to be just a touch better, like portraying Rimuru using Thought Acceleration on Clayman during their final beatdown more explicitly. But for what they are, they’re still excellent.

Overall, this was a perfect end to the second season. A few minor flaws don’t really detract from this finale…


*****

 

[Quatermass]

REVIEW: Code Geass: Akito the Exiled Episode 1: The Wyvern Arrives by Hiroshi Onogi, Kazuki Akane, and Miya Asakawa

TYPE: OVA

DETAILS: CGAE1, 1X50 minute episode

Years ago, I watched the seminal anime series Code Geass: Lelouch of the Rebellion, or at least its first season. I intended to go on with the series, but never got around to it. However, there is an interquel series of OVAs, set in between the seasons, Akito the Exiled. Finally, I have gotten around to watching the first such episode. But how would it fare?

Not long after Zero’s attempt at liberating Japan failed, some of its refugee citizens are living in the United Republic of Europia. Despite Europia being a self-proclaimed bastion of democracy, in truth, the Japanese live in ghettos little different to those the Holy Britannian Empire enforced in their homeland. Prodigy military commander Leila Macal has hit upon using the Japanese in her own unit, W-0, only for a ruthless and racist commander to use W-0 for suicide attacks during a battle against Britannia. The only survivor is the ruthless and driven Akito Hyuga. As Leila begins the process of reforming W-0, threats lurk in the shadows, both within and without Europia…

Story-wise, well, it’s not much of a plot per se, apart from setting things up for the rest of the series, so it’s somewhat thin on the ground. However, I do think that the worldbuilding is particularly superb here, showing how the United Republic of Europia, while not as autocratic as Britannia was in the original series, is not without a lot of flaws. And we have a number of intriguing plot threads being brought into play for later episodes.

Of the characters, I found that the titular Akito, at least so far, wasn’t that great a protagonist, even if Micah Solusod does a pretty good job of voicing him. I’m more intrigued by Leilah Macal, played quite well by Jeannie Tirado. General Smilas was unexpectedly (to me anyway) played in a rather understated manner by Christopher Sabat. The others, for me at least, are non-entities, at least so far, save for Shin.

Production values-wise, this has some impressive animation. True, a little bit of it is actually a step down from Lelouch of the Rebellion, in my opinion, and the CGI used for battle scenes is very blatant. Yet Sunrise’s animation is still on par, and the fight scenes actually use CGI very well, giving some very spectacular battle scenes involving Knightmares.

Overall, while not particularly good with plot and needing more to it, this beginning of a new chapter in Code Geass’ story is a welcome one. Good worldbuilding and a few promising story threads and characters ensure I will go back to it…

***½

 

[Quatermass]

REVIEW: Beetlejuice by Michael McDowell and Warren Skaaren, from a story by Michael McDowell and Larry Wilson.

TYPE: Movie

DETAILS: 90 mins

I have to admit, one of my favourite directors of all time is Tim Burton. Yet most of the films by him I have watched are somewhat commercial, adaptations. Yet, in light of the upcoming release of its sequel, I decided that I should give one of his most iconic films, Beetlejuice, a whirl. But how would I like it?

The Maitlands, a loving couple living in a country home in Connecticut, end up perishing in a car accident. But their lives after death are only just beginning. Tied to their house, with an uncaring afterlife bureaucracy on one hand, and their house’s new owners, the Deetz family, on the other, they find themselves at wit’s end. Yet even as the gloomy goth Lydia Deetz shows signs of seeing them, the Maitlands, in desperation, summon bio-exorcist Betelguese, also known as ‘Beetlejuice’. But nobody in the house, living or dead, is prepared for the havoc Beetlejuice will cause…

The plot itself isn’t that complex. Then again, it’s a fairly simple comedy-horror film, though this was done at a time when comedy-horror wasn’t as common. Sometimes, it veers perhaps a little too much towards the horror, and sometimes, the comedy is a little too cringey. But a lot of it remains on-point, with a very satirical look at the afterlife, and some heartwarming moments between Lydia and the Maitlands.

Of the cast, I think much of it is carried by Alec Baldwin, Geena Davis, and Winona Ryder as the Maitlands and Lydia respectively. The former two are a genuinely sympathetic couple who are struggling to adapt to the absurdity and apathy of their afterlife, while Ryder plays Lydia as a goth with a heart of gold well. Michael Keaton is pretty good as Beetlejuice, stealing the show at times, but he also lacks airtime for being the title character, and I feel that the movie could have done with a just little more Beetlejuice. A lot of the other characters, I can take or leave.

Production-values wise, well, it’s fairly good for a film done in the 80s. True, I believe Tim Burton was still finding his feet somewhat as a director, trying to find a way to bring about his imagination onto the screen, and it shows. And some special effects haven’t aged well, not to mention some macabre moments being jarring, even for comedy horror or a Tim Burton film. Yet the cinematography is brilliant, Danny Elfman’s music is superlative, and the heart of the film draws me in.

Overall, while not superlative and not a patch on Burton’s later films, Beetlejuice is an enjoyable, if uneven, comedy-horror romp. Who knows? Maybe the sequel will be an improvement…

***½

 

[Quatermass]

REVIEW: Code Geass: Akito the Exiled Episode 2: The Wyvern Divided by Hiroshi Onogi, Hiroshi Ohogi, Kazuki Akane, and Miya Asakawa

TYPE: OVA

DETAILS: CGAE2, 1X60 minute episode

So, here I am, back with Code Geass: Akito the Exiled. But would this next instalment be an improvement over the original? Or would it sink?

Having conscripted a trio of would-be Japanese terrorists into the W0 unit, United Republic of Europia Lieutenant-Commander Leila Malcal and her Japanese offsider, Akito Hyuga, have their work cut out for them. And unfortunately, the top brass are sending them on another suicide mission against Euro-Britannia. Between mutinous fighters, unreliable allies, and a ruthless enemy from Akito’s past, can their audacious plan succeed?

I have to confess, while many parts of the plot are an improvement, there are others that still drag it down. For every intriguing revelation, like Akito’s relationship with Shin, you have stuff like two attempts at mutiny that should have gotten the mutineers shot promptly. However, it’s still interesting enough for me to continue, and the cameos of Suzaku Kururugi and ‘Julius Kingsley’ are very welcome indeed.

As before, Leilah Malcal is one of the best characters, played very well by Jeannie Tirado. Alex Organ finally gets to show his chops as the sinister Shin, whose relationship with Akito is revealed. Johnny Yong Bosch and Yuri Lowenthal make welcome cameos as ‘Julian Kingsley’ and Suzaku respectively, their scene showing how far the characters from the original series have fallen. Unfortunately, the three Japanese conscripts do not wow me with their characters, though Akito is beginning to show some texture to his character, now that some of his past has been revealed.

Where the OVA shines is in the production values. Balancing out the increased amount of frustrating elements to the story and characters are multiple spectacular battle scenes, making good use of CGI to enhance the action. Much of the second half of the OVA is an extended series of battles after a spectacular space sequence.

Although still below par from what I expected from the franchise, and lacking in plot and enjoyable characters, this OVA of Code Geass: Akito the Exiled is still a spectacular romp. Here’s hoping the next episodes show some improvement…

***½

 

[Quatermass]

REVIEW: Doctor Who: The Celestial Toymaker Reanimated by Brian Hayles, Donald Tosh, and Gerry Davis.

TYPE: TV series

DETAILS: Serial Y, 4X25 minute episodes

While there are many missing stories from Patrick Troughton’s time as the Doctor I would love to see come back, there aren’t many from William Hartnell’s tenure as the Doctor. The Celestial Toymaker is one of them. True, elements of it haven’t aged well, but would it be enjoyable regardless?

The Doctor, Steven, and Dodo are drawn into a strange dimension: the Celestial Toyroom, the domain of the Toymaker, a cruel, godlike being that the Doctor has escaped barely once before. But now, the Toymaker has them trapped. The time-travellers must play a series of games to win the TARDIS back. While the Doctor is forced to play the fiendishly complex Trilogic Game, Steven and Dodo are forced to play a series of deceptively childish games against the Toymaker’s living toy servants…and the games are lethal…

It's true that this story is somewhat simplistic in plot, and that some elements (especially the Toymaker’s garb) have not aged well. However, I still believe this to be an enjoyable example of the Hartnell era, and amazing that a story as heavily rewritten as it was (first written by Brian Hayles, then rewritten practically from scratch by outgoing script editor Donald Tosh and then his successor Gerry Davis) holds up as well as it does. It’s a surreal story that plays up some of the surprising fantasy potential in the series, and even touches on how real the toy opponents of Steven and Dodo really are in a surprisingly existential way.

William Hartnell is good as the Doctor, even if he doesn’t get too much to do thanks to Hartnell being on holiday. Peter Purves as Steven and Jackie Lane as Dodo do well, as do Carmen Silvera and Campbell Singer playing multiple roles as the various toy opponents. Peter Stephens plays his roles with bratty aplomb, especially Cyril, the serial’s evil Billy Bunter expy. But the standout star is Michael Gough as the titular villain, oozing menaced and a veneer of sophistication with every line.

The production values, surprisingly, have been elevated to the next level by the CGI. True, the CGI is a bit basic by today’s standards, and they take considerable liberties with the source material. And yet, it feels like this was the way the serial was meant to be. There’s some surreal moments and some brilliant setpieces that would’ve been impossible at the time, and yet, not only do they fit the story, they also feel like something the production team themselves could have done. I’m also pleased that the people behind this release have edited a certain scene involving a certain version of Eeny Meeny Miney Moe, and in a way that means nobody not in the know would miss anything.

Overall, while very much of its time, for better or for worse, and not particularly spectacular in the plot stakes, The Celestial Toymaker has been revamped for a new era. Indeed, this feels like how this particularly surreal instalment of the series should’ve been…

****

 

[Quatermass]

REVIEW: Code Geass: Akito the Exiled Episode 3: The Brightness Falls by Hiroshi Onogi, Hiroshi Ohogi, Kazuki Akane, and Miya Asakawa

TYPE: OVA

DETAILS: CGAE3, 1X60 minute episode

The first couple of instalments of the Code Geass interquel OVA Akito the Exiled had proven a little underwhelming so far. But would the third instalment change that? Or would it begin to sink?

Stranded in Warsaw by an uncaring military bureaucracy, and with their money denied to them by an old adversary, the W0 unit are forced to fall in with a group of gypsies. While Leila and Akito confide in each other about their respective pasts, a new threat is on the rise. Euro-Britannia has fallen under the sway of the ruthless Julian Kingsley, in truth, a brainwashed Lelouch vi Britannia, with his former friend Suzaku Kururugi as his abusive warden. But even as Kingsley begins fomenting unrest within the United Republic of Europia, others begin making plans. Shin Hyuga, Akito’s half-brother, intends to sow chaos, while Gene Smilas, nominally Leila’s ally, has his own plot to gain power, while a mysterious backer watches from the shadows…

Finally, after the first couple of episodes, it seems like we’re finally getting to the meat of the plot. True, I think the gypsy woman sequence is a mostly-pointless interlude filled with filler, but it also gives the opportunity for more about Leila and Akito’s respective pasts to be revealed. ‘Julian Kingsley’s vicious plot is terrifying and resonates more now than it did before, and we have hints of a greater game at play with the Dimensional Supervisor making a brief but chilling appearance to Smilas.

Both Leila and Akito get some character development, with Akito finally becoming more human and sympathetic, and Jeannie Tirado and Micah Solusod get some great moments. Alex Organ does well as Shin, oozing polite menace. But it’s the welcome return of Johnny Yong Bosch and Yuri Lowenthal as Lelouch and Suzaku respectively that helps seal the deal, with Bosch chewing the scenery as a brainwashed Lelouch, and Lowenthal showing Suzaku at the nadir of his character, as a cruel and vicious thrall to his former friend’s father.

Production values are, as before, excellent. True, there’s not as many fight scenes this time, though the one major one shown, a fight in a palace between the Lancelot and the Order of St Michael, is worth the wait. The cinematography is excellent too, with Leila’s flashbacks (reintroducing CC) and the confrontation between Smilas and the Dimensional Supervisor being amongst the best.

Overall, this is what Code Geass: Akito the Exiled should be. True, it’s not quite at the heights it could be, but it’s getting there, I hope…


****

 

[Quatermass]

REVIEW: Doctor Who: Time Apart- Ghost Station by Steve Lyons

TYPE: Audio drama

DETAILS: 266A, 1X30 minute episode

So, here I am, getting into another Big Finish Doctor Who audio, a single half-hour episode, part of an anthology set. But how would this Cold War science fiction thriller work? Let’s find out…

1975, East Berlin, the height of the Cold War. Peter Meier, an East German soldier with family in the West, is assigned to patrol a closed-off station in the vast underground railway. He yearns to seek out his family, but is restricted by duty. But in the darkness, he stumbles across a body of what he believes to be his comrade. And then, the Doctor gets involved…

Half-hour stories aren’t that complex in terms of plot, so I went in with suitably low expectations. However, despite the lack of actual plot, the story has some great themes and atmosphere, being a tense two-hand play with the Doctor and Peter trying to solve the mystery, as well as dig deeper into Peter’s psyche. The twist is a good one, even if it has been done before, but in a way that works.

Peter Davison, as usual, is pretty good as the Doctor, with the Doctor’s compassion and intelligence working together to solve this unusual situation. Meanwhile, Timothy Blore plays the increasingly unstable Peter well enough. Indeed, his acting at the climax pulls at the heartstrings.

Finally, Big Finish, as always, excels at doing cinematic soundscapes. True, this is pretty much set in the same ‘set’, so to speak, but the eerie echoes, the trains rushing past, and the climax are done so well. It all comes together in an atmospheric story that goes from tension to horror to joy.

Overall, while too short to have any real plot, Ghost Station shows the potential single half-hour Doctor Who stories can have. A potent, poignant story about freedom and its cost…

****