Bramwell Seasons 3 and 4

Sadly Bramwell Series 3 and 4 Go Downhill Fast

by Kristin Battestella

Doctor Eleanor Bramwell (Jemma Redgrave) continues to run the Thrift Street Infirmary with anesthetist Joseph Marsham (Kevin McMonagle) in the uneven 1997 ten episode Season Three of Bramwell. Despite personal tragedies and household upheavals, Doctor Robert Bramwell (David Calder) courts the wealthy Alice Costigan (Maureen Beattie), leaving Eleanor free for more romance as the series whimpers on with two faulty feature length episodes in Year Four. 

 

Already Bramwell is off on the wrong foot with “The Overnight Stay” as drunkards and burning accidents at the local brewery begat pain, shouting, hysterical mothers, and emergency hectic. If one didn't see the previous series, you wouldn't know what's happening, and all the screaming, poisoned patients, and alcoholism heavy handedness are forgotten once the romance returns for our eponymous lady doctor. The statements and forced melodrama remain uneven as the rekindled but over the top sappy drags on at the expense of everything else. Although it's immediately clear that ten hours is entirely too long a season, the second episode is much stronger and Bramwell improves greatly when focusing on the ensemble's personal and professional drama instead of this contrived, dead end love affair. Spending time without Eleanor in Episode Five ironically makes the show better, and it makes the audience wonder if she could have been written off or replaced as Year Three continues to fall apart with “The Beaten Wife.” Festive jubilee preparations contrast the downtrodden streets and shanty town house calls, however the severe split skulls and abusive bloody are cut short when the doctor once again ditches The Thrift for her boyfriend. Paralleling a truly terrible situation with her la dee da and the perceived problems of her subsequent break up is an embarrassing juxtaposition. Bramwell remembers it's medical premise with goiters, boils, infected abscesses, and dubious diagnosis in “The Faith Healer,” but patients are turning to religious healers and what the doctors call mumbo jumbo. Everyone is shouting, irrational, and angry at the perceived backward superstition against science. Sick patients who really need a doctor are walking out of the clinic, but Bramwell doesn't handle multiple medical issues per episode for most of this season, and the religious healing versus fatal fire and brimstone quackery never makes a stand either way in an aimless entry indicative of the season's unnecessary pains.

Jemma Redgrave's Doctor Eleanor Bramwell shouts at her staff and talks back to her father over her latest high horse cause, yet she's the one who isn't seeing to her patients because she's too busy getting some steamy. Our intelligent, hard working woman is once again ready to dump The Thrift for her marriage plans. Eleanor's angry at everyone else, but when she says another is strong in medicine but weak and foolish in the heart, we know she's talking about herself. The character shines much, much more as a woman and a doctor in a time ruled by men when only she is able to comfort an ill mother with a feminine gravitas. However, Bramwell spends most of its time with Eleanor moping, embarrassing herself in public, and threatening to close her clinic because a man didn't rescue her from being a spinster doctor. She runs away to stay with a friend for “The Mercenary Expecting,” but Eleanor isn't happy with any country idyllic or matchmaking and yells at the maid. Her friends are so, so tired of it, but she picks a fight with the local school and sick townsfolk, critical of lesser conditions and telling teachers how to handle ignorance and neglect. She accuses everyone high or low of being so smug, wrapping a situation that should be handled with forgiveness, food, and rest in a terribly uncomfortable attitude and over the top whining. Bramwell regresses its independent woman with nothing but mistakes, turning her into a bitter biddy who takes over The Thrift again only when it suits her – and when the clinic seemed to do better without her complaining. Eleanor calls her father selfish when he invests in his own practice rather than Thrift Street, and he counters that she needs to consider how other people have dreams and professional ambition beyond her little world. She also says it is for the best when things fall apart for him, which is totally rude, and it is obvious she's jealous of him getting remarried before she is wed. Bramwell becomes even more tone deaf when Eleanor says she's tired of reminding all the bleeding hearts around her of who they are and what they do, but she quickly realizes she is the one backed into a corner and dependent upon the nearest man. She even suggests she and Marsham marry because of how convenient it would be for her – out of her father's house and near East End with her own money – never considering his feelings for her when she steps out with yet another louse instead. Eleanor insists she is calm, able to deal, and not some silly girl, but we have seen every evidence to the contrary, and the character is completely unlikable by the end of the season. 

 

A newfound courting of a wealthy widow, however, has David Calder's Doctor Robert Bramwell recapturing his youthful adventurousness. Naturally, Eleanor's stubbornness and petty disapproval embarrasses him, and he rightfully tells her to catch some manners before giving her her mother's jewelry when she plots her ill-advised engagement. Robert still wants to be there and comfort her, but he's having his own awkwardness in “The Entrenched Rival” thanks to pompous competition and high society formalities when he's visiting his lady's country house. Robert doubts his walks in the moonlight will do, but he realizes it's worth vying for the lady. Ironically, dad does the courting right when his daughter falls for all the wrongs – it's almost as if he should be Bramwell's lead. Robert also does a risky surgery on an infant while Eleanor supports him, and he confesses how he lost his wife during an operation he performed on her. He takes new offices at a well to do address in “The Change of Life” and intends to ask Alice to marry him, but an infatuated young lady patient is making excuses with pains in delicate places. Robert remains professional, focusing on his charming proposal instead of the increasingly delusional hypochondriac. Who knew accusations, fanatical patients, and gunshots were exactly what Bramwell needed? Wedding announcements are in the newspaper by “The Short Chapter,” and Robert's laughing like he's twenty as The Thrift goes all out with a humble little party and sentimental gifts. Dad still worries about Eleanor in East End alone and wants her in the country with them, and Maureen Beattie as widowed brewery heiress Alice Costigan asks Eleanor to be her bridesmaid. She's a strong business woman supporting The Thrift, sticking to the rules without being cruel and helping her injured workers. Alice enjoys Robert's company and invites his simpler tastes into her world despite some haughty medical arguments – she is perhaps set in her ways and chooses the more eminent opinion instead of what's best for the patient. Alice gets knocked down from her social grandstanding, but admits when she is wrong, bringing Eleanor frocks and trying to suggest suitors or more help at the clinic. She's proud of Robert's work and happy to marry him but wishes he'd confide in her without worrying about money, status, or impressing anybody. She prefers mutual trust to doctor confidentiality and offers her finances to save his partnership in a tender, progressive equality again done better than her step-daughter's romances.

Kevin McMonagle's Doctor Joe Marsham remains the voice of reason on Bramwell despite saying he is rarely sober. He never seems to leave the clinic yet talks of taking a promotion with a real salary elsewhere. His wife, unfortunately, becomes ill in “The Diagnosis” and uses a fake name to see Eleanor by appointment. She has had miscarriages and they lost a child, but now there is swelling in her breast and she can't tell her husband. Marsham is angry his wife doesn't confide in him personally or professionally over such a serious illness, and the story balances the husband being unable to handle the severity and the timid woman in pain seen more as a specimen by an elitist specialist. Their choices for healthcare are impeded by his Scottish accent and cheap suit, and the entire Marsham family moves in with the Bramwells during the grim diagnosis for one of the series' finer episodes as the emotional ensemble shines amid grief, time wasted, and loneliness. Andrew Connolly, however, returns as Doctor Finn O'Neill in the Series Three premiere, still wooing Eleanor between lecture stops – dropping by to ruin her rep and she falls for it every time! Though ambitious, he wants assurance of her love before sounding like an abuser with excuses on why it is Eleanor's fault he returns from America with another bride. Everyone sees Finn coming – how can we believe he really loves Eleanor when all he's ever done is wrong her? It's a chore to watch “The Vaccination Experiment” late in the season when these same old moon eyes embarrass the Bramwells amidst would be provocative medical committees debating influenza and vaccinations. Eleanor justifies his work, too – dismissing his wife's ill health, letting the girl faint, and mistreating her out of romantic spite. Finn insists Eleanor knows he wouldn't experiment on people...but that's how they met!

She's terribly embarrassed by suggestive drunken ravings but Ruth Sheen's Nurse Carr sticks up for Eleanor against Finn's crap and isn't afraid to tell off a patient's abusive husband. Although a wonderful dancer tiring out all the men, she can still be found working in The Thrift at three in the morning and comes when the Bramwells call at home. She remains forgiving despite her priggish gruff, but when she tells the doctors she can't be in two places at once, they yell. Everyone's entitled to a bad day except her! Sadly Ethel's mother has begun wandering and stealing in “The Medical Hopeful” and both stubborn ladies refuse help even if Nurse Carr can't take care of her mother alone and won't think of putting her in an asylum. She steals opium from the clinic, spooning it to her mother to keep her calm before escalating to more upsetting elder abuse. The difficulties here are nobody's fault and that's the saddest part, but it's frustrating that the supporting tenderness is torn with severe personal troubles while the titular star has a sappy romance. Ben Brazier as young porter Sidney Bentley is barely there but for a quip or wisdom from the adults. He stands up for Nurse Carr when she teaches him to dance and says he's sorry for the way Finn treats Eleanor and he'd propose if he could. Keeley Gainey's maid Kate is also used for passing along exposition, an absent-minded girl sneaking out for stolen kisses and trying to use a typewriter. Thankfully, she stands up for herself against the jerks and accepts that she has no secretarial skills – humming, reciting poetry, and off to jubilee parties while remaining much needed kindly support.

Bramwell has plenty of turn of the century Victorian bustle with all the balloon sleeves, bonnets, feathers, and frocks needed for proper British formality. Bicycles, carriages, fancy manors, and period clutter set off the candles, crystal, cameos, pearls, and newfangled electric lights while medical gruesome, surgery knives, and blood provide gritty. Our faithful must make their jubilee flags themselves, but they play instruments, sing, and dance to make their own music, too. Be it funeral decorum or church wedding, the Gibson Girl hats and big plumes are ready – leaving the gowns and shining gems reserved for the evening parties amid marble ballrooms, fine china, and English gardens. Rain and blue lighting accent scandalous rendezvous, and overhead shots or point of view editing mirror emergencies with vintage microscopes, period medical equipment, big needles, and huge IV tubes. Bramwell shows the bloody burns and sores upon the breast in bitter contrast to the often quaint atmosphere. However, every time there is a hysterical shock, foul insult, or any kind of upset, ever – someone always inevitably suggests they have a cup of tea! Of course, stateside we would have called Bramwell canceled after Season Three and named the two 100 minute episodes following it television movie specials rather than a Series Four. New credits, military drums, black and white archive footage, absent characters – you would have no idea “The Brave Boys” is supposed to be about a lady doctor if you started here with redcoats and muckrakers shouting in the streets. The always delightful but barely there Jenny Agutter (Logan's Run) is shoehorned in amid busy back and forth editing trying to set the wartime scene, hectic camerawork, and poor outdoor cinematography. It's Eleanor Takes on the Army as sergeants object to her being a recruit doctor. Marsham says he isn't being paid by Her Majesty's Service, so he just lets his future wife do the grab and cough on all these ready and waiting bare butt soldiers instead? There is no sign of romantic affection between the colleagues, and if Robert Bramwell objected to his daughter being called a cunt by patients on Thrift Street, I wonder what he thinks of her military cajoling? Useless scenes and annoying music add to the confusion for anyone unfamiliar with the Boer Wars and Dutch prejudice, leaving characters to take surprisingly racist turns. Nobody's on the same side, and instead of tying up the loose ends from Year Three, this episode throws enemy patients and friendly barracks into the messy mix. Once again, Eleanor drops everything for a Major she doesn't even really like who gets her hot and bothered, because as independent as she claims to be, all the men are still telling her what to do. Apparently there's some kind of marriage and pregnancy scandal in the second feature “The Loose Women,” but I just can't go on anymore.

Bramwell shoots itself in the foot with squandered time on round and round romantic melodrama. Despite stronger stories yet to be told with other characters, plenty of period toils, and more medical possibilities, the series looses its way amid both too many episodes and bizarre format changes. There is still some fine Victorian drama from the tormented ensemble, but unfortunately Bramwell is best left after the Second Season thanks to an increasing unlikability untrue to its original premise.

Modern Period Pieces

Modern Period Pieces Go Forth!

By Kristin Battestella

Let’s look back to the previous centuries with these period films and old fashioned serials from the turn of this technological century. Shall we?

 

Albert Nobbs – Glenn Close (Fatal Attraction), Janet McTeer (Tumbleweeds), Mia Wasikowska (Jane Eyre), Brendan Gleeson (Braveheart), Aaron Taylor-Johnson (Kick-Ass), Maria Doyle Kennedy and Jonathan Rhys Meyers (The Tudors) tackle social and gender taboos in this 2011 Irish drama. Oil lamps, pocket watches, and lacy frocks set the 19^th century mood alongside hotel maids and formal dinner settings, and we recognize Close despite the nom de plume, gruff voice, and masculine wrappings. Why has this woman assumed such a humble ruse? Nobbs has been counting her meager tuppence tips for decades, however, this is not a con but rather a tender, relatable situation – especially compared to arrogant, wealthy patrons. Mr. Nobbs is clearly capable on the job, so what does it matter if he is a she? Although costume parties, other disguised roles, and hidden subtext add to the discussion, the line between serious or funny and personal or social commentary is uneven. It's played too comical that one would find kindred souls conveniently underfoot, yet fearing discovery, one can't to thine own self be true. Back story exposition implying man hate, sexual trauma, and “turning” women toward this masculine switch also feels mishandled. While this tone may be intentionally hypocritical – same sex relationships are frowned upon unless you can pay to keep it quiet but older men having affairs with younger women or heterosexual but abusive, pimp circumstances are okay – these side plots loose steam for the finale. Work equality, cross dressing, lesbianism or asexuality, marital deception, and reversed gender roles add heaps onto a conversation that works better with just the intimacy and self realizations from Close and McTeer. This was a passion project for Close and there should be more strong lead roles for women, masculine or not, and I applaud the effort in bringing not so new issues to light. Prudish, traditional period piece fans may not like the unique dialogue, but social historians and audiences seeking gender topics will enjoy the whimsy and performances here.

The Buccaneers – Mira Sorvino (Mighty Aphrodite), Carla Gugino (Spy Kids), Cherie Lunghi (Casualty 1900s), Jenny Agutter (Logan’s Run), and more mix the New American money with the Old English nobility for this four hour 1995 adaptation of the incomplete Edith Wharton novel. Divine costumes match the romantic notions, cross continental décor, fine locales, hefty manors, and pretty countrysides, and we at the 21^st century bottom love such visual splendor. With these past social pressures and up turned, judgmental noses, however, being at the heights isn’t enough – it’s the right society trends and getting invited to the best parties in complete Dickensian who you know wrapped in for love or money sponsorship. This ‘keeping up with the Joneses’ excess, training, planning, and trapping is obviously an unsustainable pretense. Wharton herself came from the very estate that inspired the Joneses phrase, which is now a ruinous reflection of this gilded but embarrassing and bitter era, and it’s interesting now to think we are so different with our seemingly glamorous but gold digging, money for nothing celebrity indulgences. Some of the titular ladies’ plots and storylines do interweave unevenly while the frumpy ladies decide their fates over tea, and most of the men are written as limp, pedestrian louses. Despite being potentially dry and melodramatic, time here moves quickly with blink and you miss it traveling or pregnancies, and seriously, new fans of Downton Abbey haven’t been paying attention to all the previous British period dramas! In addition to literary scholars or historians having a comparative study and viewing analysis, there are enough pleasing characters, scandals, and twists to keep this quartet entertaining.

The Duchess – Georgiana Cavendish, Duchess of Devonshire, is the star of this 2008 18^th century tale featuring the eponymous Keira Knightly (Atonement), her duke Ralph Fiennes (The English Patient), the always classy Charlotte Rampling (Swimming Pool), and friendly rival Hayley Atwell (Agent Carter). Paired down historical liberties are certainly taken alongside the too young arranged marriage, but all seems happy to start – until an awkward wedding night, producing an heir pressures, and marital expectations aren't as Her Grace had hoped. Knightly, however, is well poised, and gasp, the popular, outspoken duchess expresses herself and gets involved with Whig politics! Tumultuous affairs and love triangles add twists and turns, but this doesn't go for saucy sex and cheap skin despite its scandalous source. Sons are more important than daughters, women are blackmailed with their rightly or wrongly begotten children, and men are allowed to get away with anything while women have to take their abuses. The progressive talk might be lost on today's audience thanks to big, old speaketh words, but modern viewers can hate past ways and still understand the things that haven't changed. The likeable cast doesn't hit us over the head, either – which isn't an easy task when Fiennes is playing a stunted, tough talking, of his time aristocrat more interested in his dogs. Beautiful pets though they are, matching the glorious estates, candles, delightful frocks, harpsichords, and divine interiors. The big hair and absurdly tall feathers, however, do look heavy and take getting used to – and one has to chuckle when one of those giant things catches fire! The recognizable Spencer connections and mismarketing may have hurt the film's reception, but comparing the history onscreen and off is quite interesting. This is a subdued, pretty well put together and surprising modern costume drama. But really, no wonder the tawdry always got out, they just talk about their juiciest scandals right in front of all the staff, maids, and footmen! Tsk tsk.

Great Expectations – Magwitch Ralph Fiennes (Voldemort), Miss Havisham Helena Bonham Carter (Bellatrix), and Mr. Jaggers Robbie Coltrane (Hagrid) go Dickens 2012 with Jeremy Irvine (War Horse), Holliday Grainger (The Borgias), Sally Hawkins (Happy-Go-Lucky), and Jason Flemyng (X-Men: First Class). The old time fog, bleak, and cold are felt here with threatening, dirty, up-close convict dangers and poor cruelty at home, creating a jarring juxtaposition against the potential for Christmas kindness and holding fast to doing what is right despite difficult times. Will we be rewarded at some time unknown or is there always one ready to deceive and take advantage of the goodhearted? People treat one differently when society raises him and we pretend to be something we are not. Would be lovely greenery and estates marred with decrepit cobwebs and decay accent the harsh nature and bitter nurture at play – although the chemistry between the young leads falls flat with repetitive dialogue and a Dickens-lite, Young Adult tone. Perhaps Bonham Carter seems too quirky as Miss Havisham thanks to her Burton associations, but her madcap, warped pain would be fitting if it wasn't presented as unevenly gothic and comical – the fire scene, I hate to say it, is laughable. Big, junky jewelry and ugly hairstyles are iffy, too. Brief CGI cityscapes and modern digital saturation are unnecessary compared to appropriately crowded London streets and cramped period interiors, the score is too generic, and flashbacks on Miss Havisham's marital cause and the Magwich back-story feel too...music video. The pace drags in time away from the elder cast, but these 2 hours move fast over the well known plot. There are better, fully envisioned adaptations – perhaps this release was simply too blink and you miss it soon after the 2011 television version – but the paired down style, elder ensemble performances, and the tough to beat story lend their appeal to contemporary eyes and a classroom discussion.

North and South – Not to be confused with the John Jakes Civil War epic, this four hour 2004 British adaptation of Elizabeth Gaskell’s novel stars Richard Armitage (The Hobbit), Brendan Coyle (Downton Abbey), and Daniela Denby-Ashe (EastEnders) as the headstrong Margaret Hall. She certainly puts her foot in her mouth a time or two, bangs up all the social protocols, and cluelessly meddles in strike business! It helps to know a bit about the titular backgrounds to understand this mix of snotty upscale and misplaced airs, but lovely mid nineteenth century costumes, candlelight, and green country balance the crowded bleak, gray, and shabby industrialism. The scale and ensemble may be small compared to more recent period spectacles, but the Dickensian highs, lows, and social divides are mirrored in the harsh wonder of machinery and unforgiving factory potential – there is no in between or reward for principles here. Armitage and his husky voice do well in toeing that line between tender business sense and hardworking experience, and his dilemmas over cotton fortunes won or lost, striking workers, and starving families feel more interesting than the sometimes melodramatic, dry, and superficial etiquette or proposal troubles for Margaret. I’m not an Austen lover nor an Armitage drooler and sometimes I wanted to slap Margaret when things here got too sappy! The will they or won’t they love hate romance feels somewhat misplaced against the soft Dickens labor plotlines – deaths, crime, and twists seem broad or not as deep and heavy as they should be. However, the pace moves quickly and there is plenty here for fans of the novel or cast to enjoy in social study or literary rediscovery.

Now for More 80s Horror!

And Now More 80s Horror!

By Kristin Battestella

From Lovecraft, monsters, and mad science to slashers, ghosts, and the undead, those glorious eighties had a horrorific good time!

Blood Tide – James Earl Jones (The Great White Hope), Jose Ferrer (Cyrano de Bergerac), Martin Cove (Karate Kid), Lila Kedrova (Zorba the Greek) and plenty of pretty thanks to Deborah Shelton (Dallas), Lydia Cornell (Too Close for Comfort), and Mary Louise Weller (Animal House) keep this 1982 hour and twenty full of Lovecraftian low budget foreign flair, Greek superstitions, and island terror interesting. The opening prologue lays out the virgin sacrifice, nudity, beastly symbolism, and whiff of kinky to come, but the video print is subpar, drab, and too dark to see what’s happening – making for some viewer confusion along with the steady plot holes. Some characters and motivations also simply go unexplained, and Jones’ random Shakespearean dialogue is tough to understand in some scenes. Although there are interesting dialogue references to actor Paul Robeson and Othello, ironic considering the bitter history between Robeson and Ferrer. Unfortunately, iffy, dated music and too many muddled conversations establish nothing and keep the pace here too slow – get moving on the ancient tribal sacrifice, religion, and beasts!  Once the deaths hit the water, things proceed quickly for the finale, but the monster is hokey and you really need to like bad, sleepy horror to get thru this one. Actually, if you ixnay the potential teens and spring break island sex romp standard of today, I’d like to see a stylized remake of this with another worthy, Oscar alum cast. 

Creepshow 2 – The lengthy animated opening and frame story for this 1987 anthology sequel feels somewhat out of place and dampens the suspense of George Romero’s writing polish on these Stephen King tales, yet the beginning fifties-esque pleasantries of the “Old Chief Wood’nhead” first tale make for a fine down on its luck, eerie western. George Kennedy (Cool Hand Luke) and Dorothy Lamour (Road to Bali) add a delightful charm to this tense blend of Navajo mysticism, hooligans, and quality revenge. While the ending feels a little rushed and the dated backwoods styles might be amusing or annoying to some, the mannequin effects are surprisingly well done.  Story Two “The Raft” also offers plenty of dated eighties pot and college motifs with a hint of nudity and stupidity for good measure. People in horror movies never get away when they have the chance! Despite the unexplained killer oil slick and weak globular effects, there’s plenty of suspense here. The final tale “The Hitchhiker” starts with some saucy but leads to crazy, never say die, car chases and pursuits with a touch of humor and an ironic end. Again, the stories and the framing plot don’t exactly tie together, but there’s enough eerie entertainment here to marathon with the original Creepshow.

Dominique is Dead – An intriguing cast – including Jean Simmons (Guys and Dolls), Cliff Robertson (Charly), Jenny Agutter (Logan’s Run), and Simon Ward (The Tudors) – raises this 1980 ghost tale above its somewhat slow, quiet, uneven, and unpolished parts. Yes, there are too many shades of Gaslight and Hush Hush Sweet Charlotte, but the in media res ghost talk happens quickly, creating an off kilter feeling. Is this supernatural, tawdry, crazy, or something else?  The classical scoring, old-fashioned décor and style, and a certain classy candlelight and mood lighting carry a layer of spooky amid the dinner parties, too. Surreal red and blue photography, disappearing and reappearing objects, and creepy creaking noises and sounds add to the excellent, eerie mystery – not to mention that great house and garden scenery. The superb jump moments and scares are well done with people and built up tensions rather than relying on zany effects – we hardly have this kind of simple spooky tale these days. Of course, the seemingly unloved public domain print here is too dark at times, the voices are soft, the editing itself needed a do over, and the plot holes could sure use some clarifications. There are also one too many confusing reveals for the finale, but overall, this is a nice little atmospheric and gothic good time. 

Re-Animator – This 1985 cult favorite and mad science meets undead mash up blessedly does not look mid eighties dated. Granted there may be some primitive cat designs – which aren’t for faint feline fans – but there isn’t any so obviously of the time music, cars, fashions, or gear. The camerawork and filming is also well edited and fast paced without too many major visual effects, again helping the action to hold up today. The physical gore, nudity, bloody people, and meaty props rise to the occasion – allowing Jeffrey Combs (Deep Space Nine), Bruce Abbott (Dark Justice), Barbara Crampton (Castle Freak), and David Gale (Guyver) to focus on the Lovecraft source. The solid, creepy players are as endearing as they are freaky, and there’s a pleasant, realistic layering of villainy, reluctance, genius, rights, and wrongs as the science gone awry plot progresses. Though there are some brain versus will power leaps of faith and unrealistic, unexplained medicines, the hints of black comedy campy or dark humor parody make the talking heads and telepathic control somehow believable in the established plot. The scientific dialogue is also not the expected high tech jargon, which helps the viewer enjoy the re-animated amusements. The multiple film editions – R, Unrated, and combinations of the two – however, may annoy contemporary audiences. Fortunately, the pace moves swiftly thanks to increasingly slick and nasty perversions, and everything is brought to a head for the finale. It’s twisted, both subtle and yet over the top, and humorously so wrong in some moments, but somehow, this is still so dang fun to watch.

Do Skip

Friday the 13^th Part V: A New Beginning – This 1985 sequel starts promisingly by following John Shepherd (Thunder Run) as the grown up but traumatized Tommy Jarvis. Unfortunately, the half way house he’s in has less nutty people then the redneck crazy town nearby or the aptly named “Trailer Park” trailer park. Largely absent people create too many red herring tangents while others are introduced only to be killed or worse, unfulfillingly killed off screen. If this is Tommy’s story and we’re supposed to care about him, why is missing for most of the time? Law enforcement disappears, an inexplicably tricked out barn magically appears, and wow, there are too many endings – from the barn battle and hospital add ons to obligatory dream scares and a gotcha fade to black. The wise horror viewer can predict everything, and will shout at the television over all the unutilized vehicles, weapons, and means of escape. I do give props for the internal use of A Place in the Sun, nice boobs, and the murder mystery identity guessing game, but the dated fashions, music and bad singing, backwoods near fifties designs, and formulaic stereotypes are laughable. The Robot meets Stray Cats! Some of its crazy funny but overall, the annoying humor fuels the weak, uncreative, anonymous deaths as they come too easy and go for too many resets or cheap thrills and jump clichés. The attempt to offshoot the franchise or pass the hockey mask mantle and recapture the murder mystery of the original is an interesting concept, but by the end, you don’t blame the killer for doing what he does. Whoops. The R isn’t that hard today, and the poor mix of new killer, comedy, and slasher scares only works in a precious few memorable scenes.

Friday the 13^th Part VI: Jason Lives – New town name, camp reopened for business, same old date for this 1986 reset. Jason Voorhees is back thanks to a magical dose of lightning, but the recasting of Tommy Jarvis with actor Thom Matthews (Return of the Living Dead) confuses the Bobby in the Shower approach regarding Part V even more. Did the last film not happen? Did any of Jason’s history matter? Tommy was to be the new killer, but now he’s suddenly a mistaken good guy with an occult book? Writer and Director Tom McLoughlin’s (Sometimes They Come Back) sardonic and self-referential camp counselors fall flat, and the resurrected, undead, put him back in the water Jason takes one too many leaps of faith for the audience. Quick deaths are made of the fashion victim teenagers, along with more no name murders stringing a plot together, and too little use is made of the annoying kids in peril actually at the dang camp. There’s also a strange clumsy humor and music for some deaths – Jason’s traditional ki ki ki theme feel like it’s in the wrong places – and more bad eighties tunes don’t help. There’s only one crappy sex scene and no nudity, but the attempts at something spiritual amid the supernatural aren’t followed thru either. Wild RV accidents, camaro chases, and more substantial law enforcement plots are very nice, however, and this outing is indeed better than the previous sequels. If you like ho hum slashers, this is certainly watchable, but it still falls short of the original.

70s and 80s Horror Gems

Seventies and Eighties Horror Gems

By Kristin Battestella

At last, my husband has decided to tune in for some ‘old’ horror films.  And by ‘old’ he means seventies and eighties nostalgia.  So, here’s a quick but by no means exhaustive sample of some horror jewels from those fabled decades!  

An American Werewolf in London – Jenny Agutter (Logan’s Run), Griffin Dunne (My Girl), and David Naughton (My Sister Sam) star in writer and director John Landis’ (Animal House, The Blues Brothers, Coming to America) very fine 1981 ode to the Universal classics and werewolves of yore.  The plotting and pace is realistic and natural, yet there’s room for fun, sexiness, and modern humor amid the scares.  Now that it’s been thirty years, that extra touch of period vibe adds to the lovely British locations as well.  Landis’ isn’t afraid to go where his horror predecessors couldn’t with nudity, ironic peep shows, graphic designs, and Oscar winning make up. However, there’s also a sweet homage and seriousness to the personal monster torment and the fear of the beast within.  Some today may find the ending a little abrupt, but this is still a darn entertaining ninety minutes of quality wolfy. 

Dawn of the Dead – This 1978 sequel to Night of the Living Dead from George A. Romero has a lot of subtle humor thanks to Ken Foree (Kenan & Kel) and Gaylen Ross (Creepshow) holding out against a zombie infestation in a very, very sweet mall. I mean, wow, did malls like this really exist back in the day? Our local malls have none of this magic- just clothing shops and empty spaces. But here, rednecks use the reanimated dead as target practice, the government and media are nonexistent, and the ills of people- not zombies- ruin this little retail paradise. Yes, there’s fun, nostalgia, and great zombie effects. However, the somber social statements, serious reflection, and the dynamics of what plague can do to people are just awesome. Seriously, nowadays the best place to survive zombies would actually be a dang Wal-Mart- groceries and guns!

The Evil Dead – Bruce Campbell (The Adventures of Briscoe County Jr.) battles zombie babes, rapacious forestry, and wondrous 1981 isolation in this the first in Sam Raimi’s (Spiderman) trilogy of Sumerian undead running amok in rural Tennessee and beyond.  Simply put, the natural horror and backwoods elements build up the scares tremendously.  There are no cell phones to save anyone here, people! Even if some of the effects and zombie make up are perhaps dated, it all still looks good, dirty, gory, and frightfully nasty. Raimi and his cast aren’t afraid to get silly, either, with self-referential humor and necessity is the mother of invention absurdity in taking down those titular problems.  The conclusion is wonderful, and there’s more to be had in Evil Dead II and Army of Darkness.

The Fog – This 1980 original from John Carpenter (Halloween) may seem hokey to some- deadly glow in the dark misties preying on two generations of scream queens Jamie Lee Curtis (Prom Night) and Janet Leigh (Psycho) what not and wow all that. However, several spooky sequences and isolated lighthouse in peril action scenes can still bring a few scares. You know if you were alone on a foggy night along a desolate coast you’d be scared witless!  Carpenter’s scoring also adds heaps of atmosphere, along with those hook wielding and seaweed wearing wronged spirits out to set right ye olde injustice. Though I would have liked a little more time with the players and their consciences over said errors, Adrienne Barbeau (Maude) is a cool character; a single mom disc jockey we can all get behind. Hal Holbrook (Into the Wild) is also perfect as the lone priest trying to do right.  Now then, I had seen the 2005 remake several years ago, but dang if I can recall anything about it!  I suppose the proof is in the pudding there.

Invasion of the Body Snatchers – Naturally, this 1978 science fiction remake from director Philip Kaufman (The Right Stuff) is not the original, I grant you.  It’s a little slow to start and spends more time on outer space photography and explanations, creepy plants, kinky pods, and brief duplicate nudity.  Nevertheless, stars Donald Sutherland (M*A*S*H), Leonard Nimoy (Spock, people, hello), Jeff Goldblum (The Fly), Brooke Adams (The Dead Zone), and Veronica Cartwright (Aliens) are all likeable and fun to root for against the paranoia and conspiracy.  It’s also intriguing to guess who becomes a pod person when while rewatching for all the red herring details. The fear of violation, distrust, and alien peril are damn entertaining; it’s still all about what you don’t see and even more scary, what we don’t know onscreen and off. And that is a damn killer ending!

Return of the Living Dead - John Russo’s 1985 split sequel to Night of the Living Dead brings a little too much punk to the series- yes, these fashions have not stood the test of time. Thankfully, self- reverent humor, a dang intelligent set up, tongue in cheek fun, and a sweet ending go a long way in the whole eating brains of it all.  Brains! Brains! Not only do we have characters ironically named Burt and Ernie, but there’s still some social analysis and sexy balancing the gore, too.  While some may not like this departure from the seriousness of the original or Romero’s follow up series, you have to be able to laugh at all these zombies at some point. Others new to the somewhat confusing franchises might like the fun nostalgia and a comparison marathon as well.  

Texas Chainsaw Massacre – The firstest is the mostest! Despite being one of the grandpappies of the genre, there’s actually little gore in this 1974 film when compared to today’s torture porn.  Sure, there’s some smartly placed bloody splatter, skulls and bone furniture, Leatherface and his skin wearing chainsaw wielding self.  However, most of the grizzly is blessedly off camera, creating a level of audience suggestion that really ups the fear. The implications of what has happened or will happen are allowed to germ with the viewer. I frankly always wonder about the sexual disturbia that must go on in this domestic. The hidden paranoia formula is far, far superior to the modern shock and awe desensitization, and I really don’t know why this glorious style was abandoned in favor of unsubstantiated guts and glory.  The smart, cheap, desperate, and thus brilliant filmmaking also looks dang sweet on blu-ray. Amen. 

Holiday Horror Viewfest

Holiday Horror Hits

By Kristin Battestella

Looking for something to do with yourself after surviving the horrors of unending holiday dinners, hyperactive family drama, and the fruitcake that will not die?  Take in these classic horror hits and worthy recent scarefests.  

Antichrist – Director Lars von Trier’s 2009 disturbing and controversial family horror drama opens with a bizarre and unique sex scene/baby death montage and gets weirder from there.  Only Willem Dafoe (Platoon) can make dead babies seem so casual- and I say that in a good way!  Although von Trier’s distorted cutting, angled filming, and scribbled chapter plates may be jarring to some, these visual cues akin perfectly to the unreliable feelings of distortion and downward spiral that such grievous loss can bring.  Cannes Best Actress winner Charlotte Gainesburg (I’m Not There) is a little annoying as well, but then again obviously understandable as a mother who was shebanging when she should have been looking after her child.  The altered perception of time, responsibility, and indifference bounces between the leads nicely as we progress towards plenty of violent sex, mental scares, and kinky creepy.  It’s all a little uppity considering the dirty subject matter, and certain audiences will definitely be alienated by the material-but the performances here win against the saucier distrubia. Put the kids to bed for this one.

Bride of Frankenstein – Despite its short length, over the top style, and bad science effects, this 1935 Universal sequel is a classic for a reason.  Boris Karloff (The Mummy) returns with Elsa Lanchester (Witness for the Prosecution) for director James Whale’s (The Invisible Man, Showboat) stylized tale in the spirit of Mary Shelley’s infamous creation.  The theatrics at hand add to the spooky atmosphere and morally ambiguous, hair raising drama and provide plenty of scary hijinks for both young and old.  Even the score is wonderful as well, being tragic when needed and even spiritual and bittersweet. Love, tragedy, death, angry mobs, misunderstood monsters- there’s something for everyone here!  Long time classic horror fans can always enjoy the great, campy classic quotes and old school iconography.  Educate the family while taking in all the subtext, layers, and quality storytelling here.  

Child’s Play – If you want to scare the kids out of wanting THE toy of this holiday season, then this is the film! Though dated, some of the 1988 scares may indeed be too much for the super youngins.  However, nostalgic folks can chuckle with Chucky’s naughty wit courtesy of Brad Dourif (Lord of the Rings, Dune) and enjoy the more intelligent mystery and suspense aspects here.  While the sequels certainly have their ups and downs, Chris Sarandon (Fright Night, Dog Day Afternoon), and Catherine Hicks (7^th Heaven) have some fine moments here.  Die hard marathoners can continue with Jenny Agutter (Logan’s Run) in Child’s Play 2 or go really crazy with Jennifer Tilly’s (Bound) send up in Bride of Chucky and Seed of Chucky.  Child’s Play 3 isn’t that bad, but Chucky run amok on a military base is a bit much, even for this zany franchise.

Trick ‘r Treat – This 2007 pseudo horror anthology is kind of comical- a diminutive pumpkin boy Sam (short for Samhain) pursues naughty Halloween rule breakers? Some segments here are pretty bad, even stupid and just preposterous beyond belief.  Somehow, however, writer and director Michael Dougherty’s (X2, Superman Returns) quirky style and lighthearted irony keep these tales- among them twisted school principal Dylan Baker (Kings, Thirteen Days) and seemingly innocent and Red Riding Hood-esque Anna Paquin (True Blood, X-Men) - on the bemusing side.  The ridiculousness is actually quite refreshing; especially against other recent horror pictures that try to be sardonic and miss or those copycat sequels and remakes that just take themselves too dang seriously.

The Watcher in the Woods – Although this 1980 Disney thriller might be a little too scary for the super young Santa set, older kids and the young at heart who grew up on this spooky charmer can delight all over again in young Lynn Holly Johnson (Ice Castles, For Your Eyes Only) and crotchety Bettie Davis (What Ever Happened to Baby Jane? Hush, Hush Sweet Charlotte) as they try to solve the haunting events and disappearances in the forest about their grand English manor.  Yes, it’s a little marred by Disney’s influence and maybe some of the events here are a fairly typical now. However, some scenes are still as scary now as they were to me back then.  When my mother wanted to frighten me indoors from the woods surrounding our own home or prevent me from staying up to watch an eclipse, she’d yell, “Do you want to end up like Karen in The Watcher in the Woods?!”

Bloody Egg Nog, anyone?

MI-5: Season 1

MI-5 Season One An Intelligent Delight

By Kristin Battestella

I don’t remember how I first heard about the British spy series MI-5. Maybe it popped up in my Netflix recommendations or was it by playing six degrees of Kevin Bacon with the cast? Regardless of how, I’m very glad I finally spent a night with MI-5 on my Instant Watch. Contemporary espionage mixed with timeless human hang-ups make this an intelligent, edge of your seat show that you can’t take your eyes off of.

MI-5 Section D chief Tom Quinn (Matthew Macfadyen, Pride and Prejudice) is as good as an intelligence operative as you can get. He and his junior operatives Zoe Reynolds (Keeley Hawes, Ashes to Ashes) and Danny Hunter (David Oyelowo, The Last King of Scotland) are on the front lines of terror in Britain on a daily basis. Unfortunately, their special status doesn’t make the men and women at Thames House immune to real world troubles.

Now, I have to confess, I’m not intimately familiar with law and order and secret organizations across the pond. However, that’s not going to stop me from watching MI-5, either. There are plenty of touches of CIA and MI-6, but the series keeps its focus tight on a handful of operatives. The stakes are high and head writer David Wolstencroft isn’t afraid to use, abuse, and kill our cast. Placing the lives and struggles of people above the action and hijinks is what makes MI-5 stand out against other intricate fast paces American series like Alias and 24.

Gadgets are useful, I’m sure, but I’m glad MI-5 places people first. This debut season premiered in early 2002, so terrorism plays a significant role in this organization’s lives. But then, that’s all in a day’s work, isn’t it? In only six episodes this season, MI-5 establishes the nature of a post 9/11 world while giving us healthy complex storylines and solid character interactions. Not just about the folks at home, the twisted guest stars are also written and played as charismatic, intelligent, and dangerous folks. Remember, a villain never thinks he or she is a villain. His cause is always right and worth any cost. We’d like to think the gang at MI-5 is always right, and the bad guys are all terrorists, but the multilevel characters don’t make things so cut and dry for the viewer. In addition to a lot of frank grey where there should be black and white, MI-5 doesn’t shy away from international intrigue, politics, or red tape.

I didn’t know who most of the cast was to start, and in some ways, that’s a good thing. Macfadyen’s Tom may be a section leader, but he is just an average Joe trying to keep his home life together away from work. He could be you; he could be me. Sure, we don’t have to hide our job from our families and do it all under a fake name, but we certainly understand Tom’s conundrum. Likewise, Zoe goes through the same ill balance on the job. From using womanly ways to living in a one-room apartment, we feel her difficulties. Romances come in just enough, and the men versus women dynamics at MI-5 are just right.

I enjoyed seeing Jenny Agutter (Logan’s Run) again as Section K master Tessa Phillips. She and boss Harry Pearce (Peter Firth, That’s Life, Equus) add veteran acting and maturity to MI-5. They know what has to be done for the team, their country, the world, themselves; but that doesn’t make those decisions any easier. The personal prices they’ve paid are high as well. Only David Oyelowo as Danny seems a little unrealistic. Why is the new take on the ‘token black guy’ to make him the ‘technological expert token black guy’? Are all British Black Guys tech wizzes? I have to say, it is strange to me to hear black men with British accents as it is, and naturally, MI-5 isn’t called Spooks in the US for the term’s ill racial use. Thankfully, House star Hugh Laurie makes the most of a two-episode stint as the slick head of MI-6.

Now, before anyone panics at all this British talk, I must say, the accents and wording on MI-5 aren’t that bad. Usually I like to have subtitles just in case, but the voices are pretty easy on the American ear, and there isn’t even a lot of British slang for us to translate, either. Even though it’s a British show and as such says and shows more than US audiences are used to, MI-5 is fairly tame against big action yarns. There are frank deaths onscreen and a few curse words, however, so maybe tweens and younger should wait until they are old enough to appreciate MI-5 and all its complexities. The emotional toll for watching is heavy, but worth every minute.

The series’ seasons are short and the DVDs are affordable enough for quick viewing. Blessedly, online options and rentals are available as well. The rest of MI-5 is hogging my Instant Watch, and I’m looking forward to converting my Husband. There’s just something special about a television program that makes you think about where you are in the big picture. TV that makes you smarter is rare indeed, and I think I’m addicted to MI-5. Regardless of what you call it, intelligent audiences on both sides of the Atlantic can and should enjoy MI-5.