Recent Witches and Folk Horrors

Recent Witches and Folk Horrors

by Kristin Battestella

These indie horrors from the past few years provide folk tales, dark fantasy, and witches. While some are flawed but worthy, others are disappointingly boring and downright off putting.

Gretel & Hansel – Invitations to beware, come closer, and listen well open director Oz Perkins' (The Blackcoat's Daughter) 2020 fairy tale twist alongside creepy triangles, phantom silhouettes, pointy black hats, and babes lured to the woods. Nothing is given without something being taken away, and red leaves, eerie autumn tones, fog, and firelight create a storybook rustic, Northern European timeless. Our Gretel is older – she sees and hears things differently – but she won't work for a nasty old man even if her mother threatens her with an ax. Saddled with her younger brother Hansel, the hungry children set off for the scary woods, a magical and beautiful but spooky place with screeching crows, rustling trees, and wild mushrooms. Kindness is supposed to be its own reward and they shouldn't stop for wicked deceptions, tempting baking aromas, and unattended feasts when they peer in the window. While blurry camera work and distorted, askew angles reflect the weary unknown; the zorp, warped, dun dun dun sound effects are an obnoxious intrusion. Tender conversations and innocent chats also don't need any further narration as gross fingered, hair sniffing, disturbingly creepy Alice Krige (Star Trek: First Contact) invites the youths to enter, rest, and eat because they have no meat on their bones. Simple stone buildings and old clothing styles add to the quaint antiques, candles, lanterns, and moonlight, but red doors, colorful stained glass, hairless cats, and nightmares suggest something sinister. Where are the animals for milk and eggs for baking and why does the fresh food never spoil? Despite each child having their misgivings, Gretel offers to work for their keep, cleaning with natural herbs, vinegar, and lye before learning rare recipes and remedies. Women, you see, are either used by men or crones feared for their gifts. Young Hansel is instructed in saws and sharp tools because that's the man's work, but Gretel must hide her menstrual clean up, take control of her talents, and accept the tasty price of youth and beauty as scratch marks in the cupboard lead to whispering voices, hidden doors, and forbidden white chambers. Red lights, moss, smoke, creaking wood, and thunder accent the electronic, surreal music – weird, bizarre notes invoking seventies folk horror films. Special effects are saved for the most disturbing magic and horror with sleeping drafts, potions, salves, and bloody revelations. One must consume one's weakness before it consumes you, and a burdensome child – or a younger brother – can hold one back from her true path. Our crone wants a protege to impart her wisdom, but what happens when the apprentice surpasses the master? We know this story ends with a cannibalistic twist, but the demented chamber of horrors and fiery finale feel a little held back, not going far enough compared to the slow build getting there. The modern, intrusive narration and unnecessary sound effects are also annoying to the audience well versed in this kind of horror, but fortunately, the delicious performances and fairy tale warnings anchor this tasty retelling.

Loon Lake – David Selby and Kathryn Leigh Scott (Dark Shadows, people, Dark Shadows) anchor this 2019 Minnesota set indie opening with 1880 screams, witchy curses, multiple chops, and bloody heads. An unnecessary contemporary driving credits montage restarts the farm country rural as a drunken widower renting an empty home takes the cross off the wall. Distorted camera angles set off the horror as well as pictures of the deceased and the sense of numbness amid the pretty fields, pleasant breezes, overgrown cemetery, and eerie trees. Details on accidental deaths attributed to the witch and the bad luck that follows if you cross her grave three times come at the local diner, and Selby is quite distinct as the pesky old neighborhood kook and his conflicted minister ancestor. The bereaved, unfortunately, doesn't believe in ghosts or witches despite tales of church fires, saucy spells, and bound rituals. Flashbacks provide last rites, fresh graves, and refused nastiness alongside spirits in the window, thunder, tolling bells, and number three repetitions. Conversations on grief versus faith are nice, if heavy handed, calming moments before figures in the corn rows, apparitions of the dead, phantom noises, and creaking floorboards. The past sequences, however, are out of order. That may be an attempt at leaving the history open to interpretation or making a case for crazy with guilt unreliable, but the audience has seen independent, over the top evidence of the witch, so we know it's not all in his head. Despite surreal visions, alluring forest encounters, willing temptations, dead birds, power outages, and spooky lights; it's also difficult to be on our modern man's side. He keeps saying “Let me explain” after grabbing a woman when waking rather than admitting he had a nightmare about the witch, still wants to talk it out when threatened for attacking her, and completely ignores a full gun rack because screaming at an intruder is apparently the better thing to do. Maybe this is about his learning to believe in both good and bad, but it's tough to feel for a guy claiming he didn't deserve this when the witch didn't deserve what happened to her either. Convenient writing seen in a dream provides an end to the curse, but he doesn't try to make it right, insisting he doesn't care what went down – which isn't the best course of action when she's naked and bathing in blood. Putting on a cross makes for instant faith, but the seemingly sunny ending and false fake outs are obvious. Although this makes the most of zooms, music, and in scene scares, once again the flaws here arise in too few people wearing too many production hats, and the imbalance shows by time our man pain protagonist is literally swinging at thin air. While entertaining for both the good as well as the bad, this really feels like two stories in one, and the elder period tale is better of the two.

A Disappointment

Hex – 1644 English Civil War soldiers confront occult heresy, witches, and battlefield blood in this 2017 low budget feature unnecessarily co-directed by its co-writers. Leather, flags, and torn parchments set the period while helmets, armor, prayers, and pretty fields marred with dead provide bleak. Pilfering from the bodies escalates to two soldiers circling, fighting, and clashing swords in the eerie forest, but the shaky handicam is in too close and can't follow the hectic action. The script is also so light it's nearly nonexistent, leaving the spooky to rely on “unsettling music” closed captions and false crescendos. The hand to hand, running, hiding, and repeated confrontations also go on and on for fifteen minutes with nothing to show for it. After more enchanting woods, moss, and overgrown stone ruins; mysterious runes, talismans, and hooded figures finally appear. An abandoned encampment offers tents, tools, and maps, but viewers must watch both soldiers wander through it all without taking any supplies before more stand offs and debates about who's going to pull the trigger first. One insists there is something ungodly in this forest, so they suddenly get over their hate, decided to unite against the witch instead, and then sit by the fire in silence. The audience, however, has so little evidence of anything evil happening. Maybe in a straight drama we could wait, but when there has been no horror forty minutes into an eighty-eight minute movie, this snail's pace becomes ridiculous. When we finally do have a bewitching figure in a ravine, the night filming is tough to see. The best scares are just dream fake outs, and shadows in the tent happen so fast, we aren't even sure there is anything truly scary there. Our soldiers, however, are apparently so traumatized, they don't study the maps to find their way out or head off at first light. At this point, we'd rather have had the witch's perspective about how to get these guys off her lawn. We see more of them flipping out and facing their battle guilt because this is really supposed to be about male absolving, and destroying her stick figures is supposed to make them feel better. Even when they come to a clearing and have seemingly escaped, they still seek to confront the witch in a cave. The witch wastes time explaining why in the most dialogue yet here at the end, and while they couldn't shoot a man and she clearly isn't evil, they'll stab her to death with the quickness. This premise had a lot of potential, but it goes nowhere and nothing major happens. This felt so much longer, but with open and closing credits, this is actually about eighty-two minutes and you could fast forward and not miss anything.

Couldn't Finish It

We Summon the Darkness – It feels like we've seen these rad chicks on the highway before complete with music, talk of make up and sex, and it's 1988 via 2019 thanks to crimped hair, Madonna bangles, recent vehicles, and modern skinny jeans substitutes that look like dress up for the costume party. Gas station stops, old man innuendo, and televangelist fire and brimstone add to the cliché teases while convenient murder reports on the radio detail satanic symbols found at the crime scene. The jerks on the road are likewise weak with terrible mullets and everyone measuring each other's meddle with their metal head expertise gets old very fast. The flashing lights and concert bouncing up and down are also brief and lame tropes alongside the good girl peer pressured into everything cool and crazed, annoying exaggerations. Maybe if you look at this as a parody or if it had been a comedy the tone and style would make sense? The highway home to the rich house is instantaneous compared to drawn out start, and the Never Have I Ever chatting around the fire drinking binges goes on and on when it's obvious the guys want sex and the girls are disinterested. Who's really after whom and for what purpose turnabouts are interesting, but not unexpected thanks to the ritual foreshadowing and upside down cross jewelry leading to the drugged and bound. A gender reversal on the horror is supposed to stand out, but one girl's character development is that she has to pee all the time and everyone is stupid, unlikable, knife playing drunks. You see, this isn't really about the occult aspects, just a congregation trying to instill fear of the devil by committing murders that look like cult killings. Idiotic interrogations that waste time bothering to explain all this make the threats feel hollow, and I'm so, so tired of so-called righteous assholes giving decent people a bad name. We have enough of that at the top these days, so this didn't need to be set in an eighties Midwest for the religious hypocrisy commentary. In fact, it might have come across as something deeper if the first half wasn't wasted on faking period window dressing that doesn't work. Stepmothers, bloody bodies found, police chases, lone officers who don't call for backup, psycho daddy pastors – the contrivances just go on and on, escalating until I eventually stopped paying attention.

A Ghostly Film List!

Ghostly Film Delights!

By Kristin Battestella

Phantoms, spirits, ghosts, and the supernatural – who doesn’t love a good old haunted house tale, ghost story, or bump in the night scare? Regardless of if you spell it spectre or specter, don’t take in these apparition accounts alone! 

The Conjuring –Vera Farmiga (Up in the Air) and Patrick Wilson (Insidious) lead this 2013 possession thriller along with Ron Livingston (Office Space) and Lili Taylor (Six Feet Under). Although some of the cast may seem a bit too modern and it’s tough to tell the kids apart at times, the 1968 beginning has the fashions, feeling, and creepy dolls for immediate atmosphere. No attempted cool opening credits waste time – the opening crawl explaining the true story basis and Warren demonology casework does just fine before the 1971 station wagons, old TV static, home movie reels, and ominous music accent the main Perron tale. Granted, there is always a hardened dad, nobody pays attention to the dog’s warnings, the clocks all stop at the same time, and they go into the previously boarded up basement! The Warrens also seem fake and over confident to start, withholding information amid a slightly uneven back and forth establishment of the Perron haunted house period Poltergeist meets Ghost Hunters Warren family relationships. Fortunately, the plots and sympathies come together amid foggy lakes, eerie wide camera lens perspectives, uneasy upside down pans, creaking doors, and sleepwalking kids – that’s a creepy blindfolded and clapping game they play! The editing on the jump moments from director James Wan (Saw) is surprisingly subtle, startling the simmering audience at different times with different things and allowing for a personal build instead of in your face, all the time unfulfillment. Kids in peril, bodily bruises, excellent silence and darkness, heavy breathing, and over the shoulder fearful reveals keep the phenomenon intimate despite the old time research montage and cliché centuries old history. Most visual tricks happen in camera; the pacing focuses on fear and personal reaction even as complex, multiple occurrences mount thanks to an off kilter contrast, stillness, or action movement. Horror fans accustomed to recent under 90 minute standards may find the near two hours here long or too similar to classic supernatural fair, but the tension follows through from start to finish, progressing to a wild exorcism finale. 

Ghost Story –Fred Astaire, Melvyn Douglas, Douglas Fairbanks, Jr., John Houseman, Patricia Neal, and a bewitching Alice Krige shine in this supernatural 1981 tale adapted from Peter Straub. Firelight, dangerous snowscapes, and perfect mood music accent the storytelling atmosphere, and cluttered old houses, period décor, quaint thirties charm, and a mysterious Victorian derelict anchor the classy old guard and their demented Chowder Society. Ghostly laughter, eerie sounds, old time elevators, and scares unseen until it’s too late match the hazy effects and dreamy style – keeping the viewer unsure but intrigued. Is this a dream, reality, guilt, or apparition? Granted, the plot isn’t faithful to its source, bad effects are humorous today, and some of the acting crazy is hokey. Those who don’t know the cast may also find it tough to tell who is who and be confused in putting the connections together. The unusual framing design and back and forth flashbacks add some humor and romance that may detract from the spooky tone, and wise horror viewers will spot the simplistic plot holes, too. However, it’s pleasing to see older protagonists deal with sudden shocks, death, sex, and mature topics while clashing over generational changes, phantoms, and longtime regrets. It’s both thrilling to see the jolly old school unravel and suspenseful to watch uncomfortable nudity and an ominous we don’t know what lingering over any seemingly happy times. We like our gent ensemble yet suspect the past illicit – thanks to the period settings and refined performances, the decades old scope and personal stakes have room to stand out even if this isn’t all that scandalous compared to contemporary tales with lots of gore, cults, and torture. The paranormal tone and gothic atmosphere are not super scary for the most part, yet there are some excellent, intense moments here along with a macabre little mystery and ghastly finish.

The House of the Seven Corpses – Cranky director John Ireland (Red River, All the King’s Men), the aptly named John Carradine (Bluebeard, The Grapes of Wrath) as creepy old man Edgar Price, and aging actress Faith Domergue (This Island Earth) star in this 1973 haunted house film within a film full of red decor, black candles, and color tinted photography. A creepy death reel further sets the gothic mood along with Outer Limits music, feline fears, and spooky old house bumps in the night. Who knew behind the scenes equipment, filmmaking troubles, seemingly innocent script incantations, and shooting in a haunted location held so many perils? The viewer is just waiting for a retractable knife switch a roo stabbing! The voices are tough to hear most of the time, but the light humor and snarky banter works because the ensemble knows they are making a scary movie – the wooden, fake filming and crappy scenes are a fun audience comfort before the real suspense and spine chilling scary mounts. Conflict amid the onscreen crew and production furthers the fears and shocks as the titular risings begin while plenty of great screams, twists, and ghoulish intensity keep the viewer invested even if we suspect how the scares will play out. Although the ending is somewhat unexpected, even abrupt because the house history is confusing and left unresolved thanks to some plot holes, this is still a bemusing, atmospheric 90-minute ride.

Lights Out – I like short films and wish they got more mainstream attention and recognition, but I don’t think I’ve ever reviewed something this short at under three minutes. I can talk longer than this is! However, director David F. Sandburg’s (Earth Savers, Ladyboy) winner of the Bloody Cuts Horror Challenge 2013 starring Lotta Losten got me. Not many purportedly scary films these days can capture this unseen suspense, the increasing infringement of the unknown in the sanctity of the home, bedroom, and childhood under the covers safety. How can you flight or fight when fear is coming to you? Sure, jaded viewers may balk at the lack of dialogue or motivations. Why not call a friend in the night? Leave? Lock the door? Scream! Perhaps the end isn't as fulfilling as the initial shocks that either glue you in for the topper or make you drop your precious mobile viewing device, either. The lighting, shadows, and design, however, are top notch, and we’ve all been there – thought we saw something in the dark or retreated at the paranormal possibility. This relatable hook and scares totally works. If bigger industry names or Hollywood studios don’t notice Sandburg and this smartly simplistic viral sensation, they should certainly take note at the taut tension and straightforward filmmaking. Is it easy to keep up this intensity at this short a sample? Sure. Was the minimal design required by the competition and an indie shoestring budget? Probably. But is this how modern horror should be done instead of all the in your face 3D mayhem, fluff, trite, and obnoxiousness? Yes.  View if you dare on Sandburg’s page here: http://vimeo.com/82920243.

But Not so Delightful…

The Ghosts of Hanley House – Great thunder, screams, fun sound effects, footsteps, shadows, ticking time, and chiming grandfather clocks set the mood of this 1968 black and white haunt. Objects moving by themselves, unseen chokes, and opening doors lay on the titular further along side antiques, séances, and creepy décor. Unfortunately, bad music, faux hep cat cool, dated dialogue, ridiculous up close shots, flawed editing, and wooden acting from the unknown cast hamper any chance this seemingly tired premise or its twist might have had. One can forgive low budget feelings, the dares to spend the night in a haunted house, the cliché old woman who knows the story, and the inexplicably psychic lady believer, sure. However, viewers can’t overcome the overlong 85 minutes, padded plot, and poor audio – it sounds like they are throwing their voices from off camera! The slow pace and stupid actions are too tough to enjoy, and the darkness or flashlights going off and on will be annoying to some. These lighting schemes ought to be eerie and effective, forcing the audience to look and listen for the ominous sounds and scary reveals. But sadly, the dry scripting and stilted cast ruin any atmosphere, and there’s almost no reason to care once we get to what should be a very fine kicker. Pity.

Silent Hill

Silent Hill an Entertaining Horror Treat

By Kristin Battestella

 I like the 2006 video game-based horror film Silent Hill, yes, it’s true. However, I suspect the convoluted plot and unconventional video game-esque effects may be divisive to audiences expecting a more simplistic slice and dice pursuit.  Gamers and fans of the Silent Hill franchise, on the other hand, will delight.

Rose (Rahda Mitchell) and Chris Da Silva (Sean Bean) are concerned by the increasingly disturbing behavior of their young adopted daughter Sharon (Jodelle Ferland). In addition to horrific artwork, the girl sleepwalks and dreams of a place called Silent Hill.  Against Chris’ wishes, the desperate Rose researches an abandoned town of the same name and takes Sharon to this mysterious Silent Hill. There, a coal fire continues to burn underground and the nightmarish darkness brings forth deadly monsters, fiery hysterias, and cultish quests.

Director Christophe Gans (Brotherhood of the Wolf) provides a great, hefty atmosphere – both in the darkened threats and ash falling bizarre of Silent Hill and the real world desolate and desperations. Of course, with some of the abysmal video game movie adaptations abound, we might not expect so much despite a story from Oscar winning writer Roger Avary (Pulp Fiction, Rules of Attraction). The who is who, why fors, and evil dream world ala purgatory back story is muddled at best and certainly confusing at times. Though the tale benefits from those lowered video game expectations and provides above average horror, the plot suffers from this increasingly obvious trend of making your scary set up and horror graphics more important than a clear story resolution.  Implication and speculation are nice, yes, as are the flashback expositions here. However, the cool, old fashion reel camera effects can’t hide the plot holes hampering the script. Religious iconography, sin, fire, and hell motifs sometimes come off as a lot of double talk. When chicks end up throwing stones at other chicks, you wonder why nobody just came out said, ‘Let he who is without sin cast the first stone.’  These potentially high concept Inquisition parallels, anti religion, and fanaticism hints never receive their due revelations in Silent Hill. 

 

Fortunately, we have a talented cast to help us forgive Silent Hill’s flaws. Radha Mitchell (Pitch Black, Man on Fire) is very likeable as a mother searching for her daughter. Yes, she makes some stupid mistakes in her search- including bringing her daughter back to exactly the place she isn’t supposed to be. However, Rose is understandably desperate for her child, realistically strong in her search, and believable enough for the action.  We don’t need her to be uber badass, and I’m glad Silent Hill didn’t become some sort of Rambo chick cliché. Besides, Laurie Holden (The Walking Dead) fits the bill as Rose’s semi-warrior woman and bitchy cop sidekick Cybil – although her haircut, mannerisms, and attitude do feel a little stereotypically butch at times. I don’t understand Cybil’s weird offshoot Mother is God mama love fest vibe, either.  She’s action good, effective in her police work, and there’s a teamwork build between her strong and Rose’s sensitive. Enough is happening in Silent Hill – we don’t need these extra feminine examinations littering the story if there is no follow thru for them. Thankfully, Cybil doesn’t go off the Xena deep end, as there aren’t many cool for the sake of cool weapons uses or outlandish CGI stunts here.  Most of the time, our gals are only armed with flashlights and six bullets, and its refreshingly frightening.

Although, there are more female arch types to be had in Silent Hill – it seems like one of each thanks to the zealous Alice Krige (Star Trek: First Contact) and a bad mother pariah Deborah Kara Under (The Game). Both gals are on form as always and fun to watch, but unfortunately, they aren’t given much to do beyond sin and dark, who is right and who is wrong backtalk before the special effects take over for the finale. Likewise, the obligatory horror I was there! investigator Kim Coates (Sons of Anarchy) is sadly not given more to do with the historical pieces. Today, a film based upon a video game could have been set solely in the past, and Jodelle Ferland (The Twilight Saga: Eclipse) is asked to do some freaky stuff for her alternate reality, past and present multi faceted role. Unlike those other early 21^st century blonde American woman with a creepy kid horror pictures, Sharon and her incarnations are neither annoying or goofy and unintentionally humorous.  In fact, the audience is both concerned and freaked as Sharon’s history unfolds.

Of course, Silent Hill is also a bit of role reversal for Sean Bean (Game of Thrones, Lord of the Rings) as Chris.  This film’s dynamic is special in that it is a mother and daughter quest – as opposed to the much more often seen husband, father, or all around man hero. Chris is a dad on the sidelines, butting heads with police and getting fraught in his research montage. He’s the out of the loop stay at home wife who’s side tangent doesn’t exactly do anything to help. It’s also interesting that this plot was added to Silent Hill not from the gaming source but rather as a studio insistence to break up the chick fest for the mostly male dominated viewing demographic.  Not so long ago, a leading lady was the one shoehorned in as a mere wife or required romance.  Although Bean also played a similar role in The Dark the same year as Silent Hill, it’s nice to see a leading lady have a realistic, supporting husband – and in a horror movie no less!  Besides the Bean factor, I like Silent Hill because it doesn’t go for today’s horror brand of naked teens in peril with a lot of sex, drugs, and rock and roll.  Even with its video game approach and patchy writing, there is a familial maturity and close-knit fear to keep the audience on the edge of our seats.

Pleasing cast notwithstanding, I do however fear the special effects in Silent Hill may polarize modern audiences.  Despite our big and expensive CGI 3D hysterias, the smart uses of darkness, light, sounds, and derelict dangers here still make for a great mood and atmosphere. The creepy, stilted slice and dice mobs add to the scares, too. However, some scenes and visual shots expressly look and feel just like a video game. Perhaps it is only noticeable to those who pay attention to movie effects and watch a lot of video games being played, but this design will be either ‘These effects look so crappy like a video game’ or ‘Awesome visuals like a video game!’ for the viewer. Rose has to unlock doors in a school, jump over grates and holes in the floor, find hidden hotel rooms, and weave thru frozen undead nurse monsters. Although these scenes advance the plot of finding Sharon, they also feel like quests done in a video game, and thus make Silent Hill seem thinner as it goes on. Are these critical events or mere checkpoints needed to accomplish your search? Are we playing a game or watching a movie? Likewise, Cybil feels like a non-playable helper in these sequences, another piece to help one along the way. Though this simplistic style is relatively harmless, occasionally character motivations are sacrificed because one has to do an action rather than stick to his or her persona. For some serious horror fans, Silent Hill won’t be worthwhile thanks to these repetitive searches, staged accomplishments, or running to and fro scenes. Then again, to the 18 to 34 gaming demographic, Silent Hill plays like a freaky movie and supersized video game combination.  As video games have become increasingly realistic and as well designed as films thanks to motion capture and mainstream voice talent, maybe Silent Hill isn’t dated in its game design, but a bit ahead of its time. Outside of some archaic cell phones, one wouldn’t know this wasn’t a more recent picture.

If the focus of Silent Hill had been the horrific errors and transgressions of the plot at hand and not it’s very scary looking build up of video game action and effects, this could have been a seriously good and freaky piece for this talented ensemble. As is, Silent Hill is a little bit of both – an action horror picture with sweet effects and better than expected characterizations, maturity, and casting.  Ideally, Silent Hill should have decided to be one or the other – a scary period piece or an all game horror action – but this creepy and unusual mix of both is still entertaining if you accept the movie for what it is. Despite a confused vision and the resulting flaws, fans of the cast, atmospheric horror audiences, and gaming lovers can delight in this surprisingly special video game turned movie. 

Voyager Season 7

Voyager Limps into Its Seventh and Final Season

By Kristin Battestella

After all its ups and downs, cast changes, and 75,000 light years from earth trials and tribulations, Star Trek: Voyager somehow goes even further off the deep end and apathetically rushes thru its seventh and final year.  

Captain Katherine Janeway (Kate Mulgrew) and the lost in the Delta Quadrant starship Voyager are close enough to home to signal Starfleet, and the crew anticipates returning to earth with both excitement and uncertainty. The holographic Doctor (Robert Picardo) must fight for photonic rights while ex-Borg drone Seven of Nine (Jeri Ryan) struggles with attachments to her Borg past.  Pilot Tom Paris (Robert Duncan McNeill) and Chief Engineer B’Elanna Torres (Roxann Dawson) face difficulties with their Human and Klingon courtship while alien friends and foes old and new disturb Voyager’s final approach towards home.

With all its action, Borg, and multiple places both real and virtual, “Unimatrix Zero Part II” opens the season with a confusing, all over the place, and far-fetched load of iffy. Folks are able to be assimilated and completely restored problem free and with no after effects yet “Imperfection” adds more Borg happenings and it is all so inconsistent. The Borg kid storylines are fortunately resolved, and Manu Intiraymi as Icheb creates a nice family dynamic for Seven. I’d like to think he’s Wesley Crusher as he should have been, but it’s too late in the series to waste yet another character like this. Dwight Schultz as Barclay and Marina Sirtis as Deanna Troi also return for the uneven “Inside Man.” The novelty of old friends and Ferengi hijinks wears off quickly, and it’s weird that after all this time, Voyager is still reaching for Alpha Quadrant clichés. I still think an unknown character should have been used for the ‘phone home’ Pathfinder connection, otherwise these Next Generation names takeover and ultimately don’t help Voyager. Likewise, the big “Endgame” double episode series finale is a letdown. Unlike The Original Series’ cut short five year mission, here we have an obvious conclusion for a series ending – the only worthwhile reason to see Voyager now is to see Voyager get home. Unfortunately, too much time is wasted on cliché dialogue and time travel. Instead of delivering on all of Voyager’s potential, the finale feels like an afterthought with no homecoming pay off whatsoever. Longtime fans may very well be angry at this unfulfilling, “That’s it?” conclusion.

Kate Mulgrew does fine work in Janeway’s efforts to stick to her Federation morals in “The Void,” but the interesting alien prospects and opportunity for Voyager to get some real damage so close to home is gone easy peesy by the next episode. Though fine photography and dark filming add some seriousness, Voyager repeatedly uses this trapped in a dark anomaly thing way too many times. Thankfully, the “Workforce” two-parter gives everyone his or her moment. Time is taken to get the whole ensemble involved – rather than leaving the flawed characters along the wayside – and this is how the show ought to have been all along. It’s a big arc that’s not Borg related!  Yes, the subject matter becomes dry – this is an idea stretched too long and not well thought out in the end.  Once again, all of Voyager’s problems are resolved with a handshake and no consequences. Pity. “Q2” also has some fun thanks to the cast, but surprise, surprise we’ve seen the unruly kid Q treatment before. I take this episode as definitive proof that the production team is merely going thru the motions, filling an episode order, and tossing anything at viewers ahead of the finale.  Q gives Janeway specifications to shorten Voyager’s journey but refuses to take them all the way – and we never get an exact count of how many years his information takes off the trip. Once a long time ago, this light year clock was so important to Voyager’s identity and its Starfleet ship lost in space premise. Now, however, they don’t care, and by default, neither does any remaining audience. Way to drop the ball on the one yard line! “Friendship One” almost redeems Voyager with its mission from Starfleet to find a lost probe, but the pre-prime directive consequences and aftermath are dropped completely – after all, the show would be over in five more episodes, no time to do anything significant, oh no. 

Once again, Robert Picardo stands out in the lovely “Critical Care.”  There’s Trek dilemma and some commentary on today and “Flesh and Blood” is a supersized hologram escapade, too. The evil holograms and stereotypes on the photonic versus organic parallels may be typical, but the Doctor is always good fun. “Body and Soul” has nice moments between the Doctor and Jeri Ryan’s Seven as the Doctor, but most of the episode is just too awkward. Seven’s appearances have become increasingly gimmicky by this point. The girl stands out in a crowd and viewers notice when she is standing on the bridge just for the sake of being there. Her tossed in one or two lines techno babble appearances often have nothing to do with plot, and you noticed the absence of more qualified players at her forced in presence. Where other regulars hardly appear, Seven never misses an episode. “Human Error” is so wrong in so many ways. Not only do we see yet more familiar TNG concepts like holographic addiction and rights of the crew, but Seven is getting it on with a holographic Chakotay? Oiy. “Author Author,” by contrast, does a fine job of hinting at the reception the Doctor will receive at home, and his slightly off holonovel is a fun mirror way to depict Voyager. We have seen these kinds of character on trial shows and alternative simulations before, oh yes indeed, and fine player performances are hampered by Voyager’s now overly convenient contact with Starfleet. Again, wasn’t the point of the show supposed to be that an Admiral or a JAG weren’t handy? Ethan Phillips’ exit as Neelix in “Homestead” and the Doctor’s dénouement in “Renaissance Man” are charming little shows, finally. Sadly, they come too late for Voyager.  

“Shattered” is also a weird time travel attempt revisiting scenes from the series’ past thanks to Voyager’s barely there First Officer. Robert Beltran’s Chakotay has been the wooden bane of this series, we know. Why do they go there? The wool is pulled over him yet again, and this repeating, one trick Maqui stuff is beyond old. Unfortunately, “Repression” erroneously reduces Tim Russ’ Tuvok to Vulcan misuses and excuses. So much more could have been done with Tuvok, indeed.  His pon farr –the Vulcan of Vulcan issue we’ve been waiting for- is relegated to a blink and you miss it B storyline in “Body and Soul.”  Ironically, “Nightingale” tries to strengthen Garrett Wang’s Harry Kim by making an onscreen acknowledgement of how he’s been screwed for the past seven years – and then screws him again. Robert Duncan McNeill and Roxann Dawson as Tom Paris and B’Elanna Torres also internally diss Harry Kim in “Drive,” but it is nice to see the couple have their moments in “Lineage” and “Repentance,” too. These sci-fi death penalty dilemmas and the Klingon pregnancy woes in “Prophecy” get unfortunately lost in the shuffle of Voyager’s too little too late.

I feel like I’ve been overly critical of Voyager’s run, but there was a lot to criticize. The consistency and quality problems of Deep Space Nine ballooned into glaring flaws in this subsequent spin off.  Star Trek got worse thanks to Voyager, not better as a new series should do for its franchise.  Viewers and fans can’t even ignore this installment because it is the one that drove the franchise into the ground thanks to it’s under developed characters, overuses of aliens and science fiction standards, and overall short sightedness.  Though tolerable thanks to a few shining players and episodes, I’ve long been ready for Voyager to end. Despite it’s rehashing of common 24^th century pieces and plots, the merely basic SF at best here often doesn’t even resemble what one expects from Star Trek. Where there was once such promise, Voyager ends with no backbone, and that’s a damn shame. Casual audiences looking for a touch of non committal Trek, science fiction background noise, or a few hours in which you don’t really have to pay attention too much can take Voyager’s final season for what it is, meh.

MI-5: Season 10

I’m Still Undecided on MI-5 Season 10

By Kristin Battestella

I confess. I was reluctant to watch last year’s final six-episode Tenth Season of the British spy series MI-5, and I’m still unsure what to make of it.  Although Series 9 was less than stellar, this finale has some fine inclusive work worthy of the franchise- a largely wonderful program I highly recommend overall.  But do these departing high notes fulfill on entire series?  Not quite.

Sir Harry Pierce (Peter Firth), new Section D chief Erin Watts (Lara Pulver), and Intelligence Officer Ruth Evershed (Nicola Walker) have their hands full of turmoil at Thames House after explosive evidence of Harry’s decades old relationship with Elena Gavrik (Alice Krige) threatens to derail new Russian negotiations. Elena is the wife of Harry’s rival and top Russian negotiator Ilya Gavrik (Jonathan Hyde), and Home Secretary Towers (Simon Russell Beale) can only defend Harry’s tactics for so long as pressure from CIA liaison Jim Coaver (William Hope) mounts.

With only six episodes in this MI-5 swansong, the audience might expect one long plot- a connecting vein and a tying up of loose ends to all that has gone before. However, traditional A and B action plotting and Americanized storylines take over, pushing both new and long brewing personal stories to the side.  Why did they ever turn away from character development in an erroneous quest for bomb of the week ho-hum?  Over these ten series, we’ve now seen enough terror plots, global peril, and down to the wire mayhem to last a lifetime. If these 6 episodes never left Thames House- or by contrast never even showed The Grid- there would have at least been some form of differentiation or reflection. Instead, it doesn’t feel like MI-5 is wrapping up at all. Some outlandish scenarios are a blatant clinging to big ratings thrills.  We’re not perfect either, but too much time is also spent on making American bad guys and anti-USA plots. All this effort to go out on a big scandalous bang is not only misplaced in the face of franchise resolutions, but the action isn’t as interesting as the real, individual stories that could be at hand-if those personal and intimate moments were ever given their proper attention that is.

Thankfully, Peter Firth as Harry Pierce and Nicola Walker as Ruth Evershed are simply awesome.  Though some might find her accent for MI-5 tough, Alice Krige- she’s the Borg Queen for goodness sake- can generally do no acting wrong. Together, the trio creates a smart, unusual love triangle with enough espionage to anchor the focus of these exiting six.  After all these years of pretty men, badass ladies, and international intensity, Harry and Ruth have shined brightest in their ups and downs and love lost amid Her Majesty’s Secret Service. Bringing in a high-class recurring name like Krige as the conflicted wedge between them is practically gold. And yet, there is some bizarre need to place these meaty relationships, past regrets, and unrealized futures behind Russian assassination attempts and terror troubles in Trafalgar Square.  Simply put, this recent loss of priorities has put MI-5 in the grave.  If the show adhered to its original personal ‘people are spies, too’ dynamic and internal focus, why couldn’t MI-5 continue for another ten years like Law and Order? Unfortunately as it stands, we don’t even get to spend any time with Lara Pulver’s (Robin Hood, Sherlock) new section chief Erin Watts. Adding a boss who’s a single mother on top of the issues at Thames House is a nice touch, but we know precious little else. 

Fairing no better, Simon Russell Beale doesn’t get to do very much except play the expected politician, and Jonathan Hyde’s (Titanic) Gavrik is too broadly written as the stereotypical Russian villain of old- as is William Hope (Aliens) as CIA thorn Jim Coaver.  The veterans, however, are superior to the useless introduction of inept tech boy Calum Reed (Geoffrey Streatfeild, The Other Boleyn Girl), and Max Brown still hasn’t captured the contemporary cool weight of the previous male leads as Dimitri Levendis.  He’s young and pretty, but perhaps too much so, with an empty clean slate of nothing in comparison to all the crap we’ve previously put up with from prior cast. Shazad Latif’s departure as Tariq is also absolutely useless. Why bother to dismiss someone so poorly this late in the game?  MI-5 has always made a marked point that anyone can come and go at anytime, but why introduce new people on the grid this season at all?  Where are the flashbacks and recognition? The tacked on mention of all that we’ve loved and lost before is not nearly enough.  Have we no pictures, voices, or videos of the dead? Where are the people who got away from The Grid? If viewers unknowingly tuned into Series 10 of MI-5, I’m not so sure they would know it was a finale!

Though the show still looks good, the technology and tablets are a little much. Compared to the original state of the art gizmos from the first season, this stuff is just ridiculously high tech, even futuristic.  I don’t recall a lot of split screens or lighting imagination, either, but these six episodes all seem to go by too quick without MI-5’s prior attention to detail. Was this conclusion merely an obligation to fill an episode order? Not only will the damn it to hell ending upset long time fans, the tiny tributes fall flat.  Loose ends with American and Russian relations also mar the conclusion here- although that might be a piece of ob la di, ob la da spy merry go round.  Apparently, you don’t escape it unless you die! Year 10 does end on a personal emotional moment with one wonderful cameo, but it’s lost in the shuffle amid the increasing focus towards action.  I expected more from a franchise that stood apart for the better part of eight seasons.

New audiences can’t jump into MI-5 with this final Series 10.  That should go without saying, but they were clearly reaching for edgy, contemporary vibes before appreciating longtime viewers of the franchise. Vintage audiences will still watch, of course. More than anything, however, this year makes me want to start MI-5 right over again from the beginning. Perhaps that was the point?  Now that the franchise is complete, pick and choose and relive the spy glory on DVD with MI-5. 

Star Trek: First Contact

Star Trek: First Contact Superior Next Generation Film

By Kristin Battestella

After an ill-received feature film outing in Star Trek Generations, it seemed the crew of Gene Roddenberry’s second series Star Trek: The Next Generation was not destined to make a successful leap to full length features.  Thankfully, 1996’s Star Trek: First Contact took a page from the original Star Trek, brought a memorable villain front and center, and thus gave TNG its best film outing.

Captain Jean Luc Picard (Patrick Stewart), Commander Riker (Jonathan Frakes, also First Contact’s director), and android Lieutenant Commander Data (Brent Spiner) must again face the Borg-a collective cybernetic enemy that wants to assimilate the human race. The new Enterprise E follow a small Borg sphere back in time to stop the Borg Queen (Alice Krige) from assimilating earth and preventing humanity’s first warp flight. Unfortunately, the crew finds the past is a dismal post apocalyptic time for Earth. Riker, engineer Geordi LaForge (LeVar Burton) and Counselor Deanna Troi (Marina Sirtis) must convince warp drive pioneer Zephram Cochrane (James Cromwell) to continue with his historic flight so humanity will make First Contact as planned.  Picard, however, was once assimilated by the Borg and has troubles all his own in coming face to face with the Borg Queen.

Long time Star Trek fans and newcomers to the Next Generation spin can enjoy First Contact’s tightly woven and multilayered storylines from longtime Trek  penners Rick Berman, Brannon Braga (24, FlashForward), and Ronald D. Moore (Roswell, Battlestar Galatica, Caprica).  When my husband agreed to a viewing without having seen the Emmy winning Next Generation two-part episode ‘The Best of Both Worlds’-which details Picard’s assimilation into the borg Locutus- I did have to explain a few things.  However, the wonderful, personal crew touches highlight any back-story needed, and the swift pacing from director Jonathan Frakes (Clockstoppers, Leverage) gets us into the situation onboard the starship Enterprise.  Using the big budget cinematic time and scope, First Contact is able to delve and deliver even more than the finest points of the TNG series.  Just like Star Trek II: The Wrath of Khan, First Contact excels in taking its television roots to the next level.  In The Borg, TNG’s created a new staple for the franchise, a terrifying- nay rapacious villain that sought to take away our identity and individuality and substitute collective brainwashing and technological terrors.  Knowing the weight of the onscreen enemy as well as his co-stars’ characters and needs, Frakes strikes a balance between several dramatic arcs, action sequences, and dispersed humor while still leaving room for the guest stars and mission at hand to develop and shine. 

Over seven seasons as Captain Picard, Patrick Stewart (X-Men, Robin Hood Men in Tights ) endeared us to the French diplomat with high standards and Shakespearean charm.  In First Contact, Steward adds more dimension to Picard, crafting a captain with a past and a dark side bent on forceful vengeance blinding him to the needs of ship and crew.  Picard is angry, taking matters into his own hands and spearheading the drama of First Contact.  All this and Stewart still gives us some fine wit and tender moments with several crewmembers, too.  Likewise, Brent Spiner (Independence Day, Threshold) gives new dimension to Data.  Spiner wonderfully handles the irony that an android seeking to be more human can find his ambition via a collective of cybernetic drones.  Data’s ability to turn off his emotions chip is also dealt with in delightful scenes, returning us to the personal heart of science fiction-the humanity.  Alice Krige (Sharpe, Sleepwalkers, The Sorcerer’s Apprentice) perfectly matches the big boys with a bizarre mix of class, power, disturbia, and sex appeal.  We’re not supposed to like the Borg Queen, yet Krige captivates us with her allure and uses the basic truths of the collective to her juicy advantage. 

Further guest stars add to First Contact’s multi-dimensional explorations.  Emmy winner Alfre Woodard (The Practice, Miss Evers’ Boys, Hill Street Blues) is exceptional as Lily, a 21st century human caught in between Picard and his battle with the Borg.  This is not the stereotypical hot girl enjoying the fish out of water spaceship fun.  Woodard keeps Lily pissy, strong, and no less lovely with stature and intelligence.  Of several great scenes in First Contact, Lily and Picard’s Moby Dick debate may be the finest in the film.  It is simplistic to equate a ship captain’s revenge to the famed Ahab, yes; but the allusion connects the past and future humans together in a touching, universal theme.  The irony that the space faring and advanced Picard has read the book-since his society does not define human value purely by the accumulation of wealth- and Lily in her desolate, post-war life has not adds to the importance of humanity’s art and individualism in this dangerous mission against the Borg.  Of course, James Cromwell (Babe, L.A. Confidential, The Queen) shines as conflicted engineer Zepfram Cochrane.  Trek history regards the legend with the highest honors, statues, and status, yet the Enterprise crew meets the man here.  And Cochrane is indeed simply a man who drinks, likes girls, and listens to rock and roll.  Cromwell is excellent as the cynical drunkard who is suddenly confronted with the mantle of greatness he has not yet achieved.  The relatable mix of anger, fear of failure, and humor keep Cochrane endearing.  It’s man versus himself at its finest.    

The rest of the Next Generation cast has precious little time to strut their stuff, but the gang is A okay nonetheless.  Each crewmember has a personal moment to shine, with lovely exchanges between Michael Dorn (borrowed from his subsequent move to Star Trek: Deep Space Nine) as Worf and Gates McFadden (Mad About You) as Doctor Beverly Crusher.  Frakes (North and South, Falcon Crest) and LeVar Burton (Reading Rainbow, Roots) have their witty moments humoring Cochrane, and Dwight Schultz (The A-Team) even has a spot as bumbling Lieutenant Reginald Barclay.  Marina Sirtis (Crash, Gargoyles) has a bizarre, comedic drinking scene, too, before getting serious for the big finish. We should know better since he’s a red-shirted Lieutenant, but Neal McDonough (Desperate Housewives, Boomtown) is also a lot of fun as new helmsman Hawk.  

Despite its years and the subsequent better visually designed Trek material, First Contact looks dang good.  The Enterprise E’s design and graphics look like the natural progression between The Next Generation and later series and films.  The glowing, claustrophobic, dark, and even spooky and suspenseful Borg also look wonderfully deadly and dangerous.  You can’t let them touch and assimilate you, yet one can walk among the creepy, zombie like drones until perceived as a threat.   Earth’s post World War III shabby and shanty bleakness is fittingly drab against the Enterprise’s stylized Dixon Hill holodeck glamour, and of course, the upside down spacewalk sequence still looks great.  Yes, everybody’s older and perhaps some things are better looking or too far changed from the style of the series- but advances in film production are understandable.  The fine action and effects of First Contact accent and complete the characters at hand.  The late Oscar winner Jerry Goldsmith’s (The Omen, Mulan) traditional Star Trek music themes also keep things familiar and relatable by swelling at all the right moments-be they personal or spectacle.

Star Trek audiences surely know and love First Contact.  Completists will also take to the sub par follow-ups Insurrection and Nemesis, but The Next Generation is best left on the big screen here. Newer fans from the 2009 reboot should also give this stylized leap a chance- as should non-Trek science fiction viewers.  Understandably, audiences who don’t like the TNG cast will have a tough time here, or maybe the humor and quick pace is out of place for some.  Thankfully, the overall development and far-reaching science fiction themes go beyond the mythos of Star Trek.  Even non-sf fans can find the depths and drama they’re looking for in First Contact.  With only a few moments of innuendo, genre family audiences can certainly spend the night here, too.  Trek lovers can enjoy the Special Collectors Edition DVD for plenty of behind the scenes, commentaries, trailers, and more or upgrade to the new blu-ray release.  For families looking for a quick fix, rental and streaming options are available as well. Introduce yourself to The Next Generation or love it all over again with  Star Trek - First Contact.