More Short Lived Shows

More Short Lived Shows :-(

by Kristin Battestella

By design or cancellation, here's another helping of short lived television scares, creepers, documentaries, and fantasy to binge or avoid. 

 

100 Years of Horror – Christopher Lee hosts these twenty-six half hour episodes from producer Ted Newsom (Flesh and Blood: The Hammer Heritage of Horror) – so don't let the very, very dated 1996 bad opening animations and made on the cheap poor video style deter you. Every scary topic one can expect is here from “Dracula and His Disciples” and “Blood Drinking Beings” to “Frankenstein's Friends,” “Mad Doctors,” and “Dr. Jekyll and Mr. Hyde.” Common topics such as “Werewolves,” “Ghosts,” “Witches,” “Mummies,” and “Zombies,” get their due alongside more unusual ground such as “Aliens,” “Mutants,” “Freaks,” and “Dinosaurs.” Interviewees such as Bela Lugosi Jr., Sarah Karloff, Hugh Hefner, Roger Corman, Hazel Court, John Carpenter, Caroline Munro, and Richard Matheson discuss “Bela Lugosi,” “Boris Karloff,” and “Scream Queens,” too. The overlapping topics are at times broad and there's nothing new for die hard horror fans – the series should have been a tight ten hour presentation as some of the VHS editions appear to have done. However, this does pack in a lot of rare photographs and archive footage of John Carradine, Vincent Price, and Peter Cushing. Brief nudity in the film clips earn MA warnings, and the subject matter isn't always family friendly, but overall this remains a nostalgic, informative set recalling the chronological growth of horror cinema from silent films and scary television parallels to the new millennium. Of course, it's great to hear Lee's booming yet casual narrative, dry wit, and conversational hosting style. The series is worth it just for his recollections – with more than enough pick and choose bonuses to get into a Halloween mood. 

 

The Enfield Haunting – Matthew Macfadyen (MI-5) and Timothy Spall (Harry Potter) star in this 2015 three part British miniseries recounting one family's 1977 paranormal encounter. Hide and seek in a cemetery and telling urban legends forebode the scares to come, however seventies touches such as knee high socks, the old ring ring on the horseshoe phone, viewfinders, a big television, and Starsky & Hutch posters add a sense of innocence, endearing the viewer with nostalgia before the creaking noises, phantom tappings at the door, and furniture that moves by itself. Psychic researchers and paranormal writers come with their giant cameras, capturing only ghostly video glitches and spooky static, but the interviews with the children are natural and well-done. Family conflict, past trauma, medical issues, and heart pills add to the freaky old man imagery, skepticism, and scary toppers while Episode Two brings debates about how to proceed. The entity follows the children to a relative's house but asking what it wants leads to frightful possessions and apparitions in the mirror. Are these mediums or charlatans? Is this a poltergeist or youth acting out? The investigators must face their own personal demons amid escalating one knock yes, two knocks no questionings. Quick library research moments and scenes with surviving residents detract slightly from the congested house, as eerie telephone calls and arguments over writing a book exploitations work better. The division among the experts skirts most of the real world doubting or then-hoax possibilities, and liberties are taken with a seemingly forgotten son and prior child deaths in the house or innuendo of past abuses only briefly mentioned. Fortunately, there are lighthearted quips alleviating the scares, after all, foul mouthed possessed kids can make a social visit pretty awkward and poltergeists sure are messy! By the Third Hour levitating urns, vocal trickery, orbs, and the seemingly vanquished moves fast with newspapers ready to jump on the story. Phantom doorbells, doppelgangers, and hospital cruelty create neurology versus mysticism questions alongside implications of self-harm, misplaced resentment, and unresolved grief. Is this a ghost with unfinished business or something more tangible? There are a few good shocks, but this tale is told in the time allotted without an urgency for over the top theatrics. The family drama remains at the forefront here thanks to choice paranormal frights and fine performances. 

 

Split Call

Robin Hood – Although technically not short lived at three thirteen episode seasons, this 2006 take on the legend moves fast, remaining messy throughout its tenure with too many zooms, chop edits, and tracking cameras. Despite the medieval setting, loud music, intrusive modern dialogue, anachronistic weapons, and desperately inaccurate ladies costumes interfere with viewer immersion. You can have a humorous episode or character, but the tone flip flops from scene to scene – is this a camp fantasy or serious moral play? The origins of Robin becoming the Hood and the introductions of the outlaws over the first season are lovely, however, the 45 minute round and round padding gets old fast. Audiences can only believe Robin's hollow threats to kill the Sheriff so many times when they chat weekly and have several opportunities to harm each other – it's Cobra shaking his fist on G.I. Joe. This superficial structure isn't the actors fault, but I don't care for Much, Marian, Allan A Dale, or Keith Allen who must have been directed to play the Sheriff of Nottingham as a poor man's Tim Curry. Worse still, gung ho, never shrewd, and not always likable Robin is only into stealing from the rich for the glory, and any character developments feel too tame or are forgotten by the next episode. Why not have Robin be anonymous, disappeared, or absent altogether ala Blake's 7? Of course, fans will eat up the Guy Gisborne guyliner and shirtless Richard Armitage scene chewing, but there should have been more of the mature family drama with Gordon Kennedy as Little John and the criminally (ha, pun) underused Harry Lloyd as Will Scarlett. A family friendly show doesn't have to be juvenile, and the serious character moments are better than the preposterous Old West saloons, babies, PTSD (complete with camouflage pants!), and National Treasure gimmicks intruding on the quality middle of Season Two. The deaths, betrayal, consequences, regal surprises, and great adventure drama comes too late, leaving unrealized potential or what should have been glasses clouding the viewing. I remember why I didn't like watching this show the first time around, and my gosh do not bother with Season Three!

Skip It

Cult – I had a lot of notes regarding this thirteen episode 2013 show within a show thriller. However, the always deliciously demented Robert Knepper (Prison Break) is the only real reason to tune in – and he isn't given much to do despite having a dual role amid this intriguing premise blurring the lines between television fiction and fandom reality. Are there really subliminal workings in media or just warped fans with a runaway theory? I almost wish the crime investigation and the titular internal series were separate shows, for the inside actors trying to not cross characters lines or crazed fans seem more interesting. Unfortunately, the disc encryptions, chat rooms, internet cafes, supposedly secret roleplaying, and newspaper reporter lead are terribly dated. Episodes run as short as forty minutes, and hokey, clue revealing 3D glasses play like an evil National Treasure. The CW goes overboard with inside promos and name drops, but pointless VHS skipping transitions and faux static can't hide on set unrealistics, sloppy detective contrivances, pretentious viewer interactivity, and lame torturing. Traditional intercut structuring breaks established point of view rules by presenting the inside show as the B plot instead of someone onscreen watching it. Throwaway events, uneven suspicions, and nonsensical catchphrases also make for poorly paced storylines. Rather than piecemeal with flat costume party wannabes and hypocritical statements, the show within should have been revealed in order or watched early each episode for parallel hints. Weekly killer teen obnoxiousness clutters the overlooked resources and obvious information that would solve everything, and only one protagonist is really needed – either reporter Matthew Davis (The Vampire Diaries) seeking his brother or show assistant Jessica Lucas (Gotham) discovering secrets. The cast seems diverse yet remains stereotypical, with a light skinned, more European looking black woman having the white hero romance while the more African featured villain is the scary black woman put in her place by an evil white man superior. The mystical negro boss is sacrificed over a white man's mistake, and there's a hip, wild haired tech chick, too. They want evidence but never take pictures with their phones? A reporter doesn't write about it all until after the fact? Bitch, anonymously blog that shit! Ominous “They know that we know that they know that we know” glares reiterate what just happened – even though each scene only lasts a few minutes – and ham-fisted cult begat show attempts at shock and sensationalized meta unravel instead of reveal. Abandonment and abuses are very anticlimactic, and one person's long lost secret is a Google search away to another. Motivations change with each derailed pursuit, and derivative storytelling compromises would be possibilities in favor of a household boob tube brainwashing theory. What is this, Batman Forever?

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.

More Blu-Ray Evidence!!

More Blu-Ray Evidence! 

By Kristin Battestella

 

Be it period and medieval drama, science fiction and intergalactic battles, or epic fantasy, the blu-ray format has once again renewed the panache of these titles both young and old.

Beckett – One has to be in the mood for this lengthy two and a half hours of 1964 epic medieval history and bromance starring Peter O’Toole (Lawrence of Arabia), Richard Burton (Anne of A Thousand Days), and the brief but charming John Gielgud (Arthur) thanks to lots of soliloquies and a decidedly Shakespearean vibe. From clashing Normans and Saxons and swashbuckling humor to saucy affairs and swordfights, the mix of stage presence and grandiose film scope works. While audiences today may focus on the homosexual subtext, there are excellent one on one debates on women, religion, and even food from the three Oscar nominees here. King Peter is wonderfully snotty and tormented while Burton is surprisingly subtle as the chancellor who knows how to rein in his prince – until he gets a case of religion, that is. The colorful photography, great costumes, beautiful horses, sweeping architectures, and scenic landscapes all look made to look old delightful on the restored blu-ray, and Latin chorales, wonderful orchestrations, and big crescendos rise or disappear as needed. Though a Best Adapted Screenplay winner, contemporary viewers may find some of the inaccurate plotting and old speaketh a little dry. Subtitles are essential, but the scrollwork blu-ray interface is cool.  After being out of the home video market for so long, period piece lovers, fans of the cast, and history buffs should indulge here – with O’Toole’s reprisal as Henry II in The Lion in Winter for good measure.

Elizabeth – Granted, this 1998 biography from writer Michael Hirst (The Tudors) is not super accurate historically, but dang if this isn’t as fine a period film as they come. The orchestral music is perfectly fitting, and the stunning costumes, medieval sets, and colorful photography all look brand spanking new on blu-ray.  Yes, liberties were taken; some of the stylized scenes are pretty for the sake of it and don’t always advance the plot. It’s often tough to tell who is who and Joseph Fiennes (Camelot) is insipid as always. However, Cate Blanchett (Lord of the Rings) was 110% robbed of the Best Actress Oscar – we knew it then. The sharp editing, solid pace, assassination dangers, and regal plotting still make this a better picture than that other Elizabethan movie that unjustly ruled the Academy that year coughshakespeareinlovecough. It’s also delightful to see the excellent supporting cast, from stalwarts like Richard Attenborough (The Sand Pebbles) and Geoffrey Rush (Pirates of the Caribbean) to charmers like Vincent Cassel (Eastern Promises) and James Frain (True Blood) and then-unknowns like current Bond Daniel Craig and ex-Doctor Christopher Eccleston. For scholars, Tudor lovers, fans of the cast, period connoisseurs, indie film audiences, and Oscar should-have-won trivia fans, there’s no reason not to like this one.

 

Elizabeth: The Golden Age – We wrote on this 2007 sequel at length previously, but after seeing this again on the dual blu-ray set with its predecessor, it’s time for a digital glory update. Once again, Cate Blanchett rules the hour, simply put. Yes, this follow up is slightly weaker thanks to some cartoonish King Philip (Jordi Molla, Colombiana) scenes and an uncharismatic Clive Owen (Closer) as Sir Walter Raleigh in love. Though there are panoramic, sweeping paces and this sequel also plays with historical facts, it isn’t as artsy as Elizabeth was and feels more toned down and mainstream in its construction. Quibbles aside, the naval battle with the Spanish armada is worth the wait. Rightfully so, one doesn’t want the whole film to be about the battle. However, the depiction is just the right amount of epic – and the gore, fire, and stylized strengths are simply smashing on blu- ray. And the Oscar winning costumes? Wow. Fans of the first film, period audiences, and Elizabethian students will simply have to see this pair together for complete scope and Regina reflection, and it would be awesome if we yet saw a third film to finish this set.

The Last Starfighter – Nothing can be done about the old gaming graphics and arcade plots in this 1984 SF adventure, but the space battles, reptilian aliens, and galactic clichés are colorful and bigger than ever on this 25^th Anniversary blu–ray edition. 80s retro chic trailer park fashion is always fun to see, too, and the heroic, sincere tale is actually quite entertaining and memorable. Yes, it’s preposterous that a video game would unite a poor town – and that’s before the over the top megalomaniac aliens and need to save the galaxy enter the scene! Fortunately, the primitive computer animations, imaginative space equipment, and dated futuristic technology have the flavor needed, although well-schooled old school fans might see a lot of references or rip-offs from other science fiction films. Director Nick Castle (The Boy Who Could Fly), however, makes sure the 80s names and recognizable faces such as Lance Guest (Halloween II), Catherine Mary Stewart (Night of the Comet), and Robert Preston (The Music Man) are able to laugh at the absurdity of it all – from doppelgangers and playboy snooping little brothers to fake intergalactic speaketh and DeLoreans.  The epic, lively music by Craig Safan (Cheers) ties all the rousing fun together, too. Though the blu-ray interface is a tad annoying, the making of feature, commentary, and other behind the scenes treats complete this renewed, nostalgic trip – it’s perfect for the whole family.

 

And a Split Decision Wait and See…

The Hobbit: An Unexpected Journey – I confess, I’m not sure how I feel about this 2012 first installment in Peter Jackson’s prequel trilogy to Lord of the Rings. This is a great story, yes. This is a fine cast, true. However, it doesn’t feel as if all the players or the heart of the tale get their due time because the audience is too busy trying to keep up with the 48 frames per second fast rate and the in your face 3D battle scenes – which honestly don’t look good on blu-ray.  While it’s lovely to return to Middle Earth and see this dwarf attention, there’s simply too much other prequel stuff and extra Tolkien ephemera such as the necromancer and white council clouding the story. It’s nice to see these nods and winks bridging the gap to the Lord of the Rings films, but it’s tough to do both a children’s book adaptation and darker mature fantasy material justice with all this off kilter CGI thrown in to boot. I mean, is Frodo seriously there just to pick up Bilbo’s mail? It’s wonderful that the Gollum riddles scene remains rightfully uncut, but the intercut goblin town battle and completely cliché Azog creation look and feel like a real mess. The dwarves don’t really look like dwarves, either. Well, the ones who don’t have any speaking lines do, and the accents here are all over the place, too. Most of the time, it’s tough to remember Richard Armitage (MI-5) is not playing a man about Middle Earth. Do you think John Rhys Davies – who had allergic difficulties to the facial prosthetics as dwarf Gimil in Lord of the Rings – was upset that these dwarves just get big axes, floppy hats, and beards to accent their pretty faces? The script here also adds unnecessary difficulty to itself – flashbacks with more flashbacks within them are what make The Lord of the Rings such a frustrating modern read. When the viewer can tell what’s going on, the pattern here feels like a slower, sillier retread of The Fellowship of the Ring. Ultimately, this first installment can’t decide if it is a prequel to the Lord of the Rings films, a faithful adaptation of the titular children’s book from the thirties, or a new fantasy film trying to keep up with all the other blockbusters via high frame rates, in your face 3D, and too much CGI.  I personally also found The Fellowship of the Ring slow to start and muddled with too many characters and only came back to the Lord of the Rings trilogy after it was completed. I’d like to hold out hope that the story and heartfelt adventure will dominate the next two Hobbit films. However, it seriously looks like a faithful, youthful Hobbit adaptation could have been done in one film.

 

MI-5: Season 9

MI-5 Season 9 Begins to Wane

By Kristin Battestella

Alas, here again I’ve finally caught up with Season 9 of the British spy series MI-5.  Unfortunately, for the first time since I began following the folks at Thames House, I was a little disappointed with this shorted year.

After recruiting new junior case offices Beth Bailey (Sophia Myles) and Dimitri Levendis (Max Brown), promoted Section D Chief Lucas North (Richard Armitage) is confronted by a mysterious figure from his past, Vaughn Edwards (Ian Glen).  The connection leads Lucas to rekindle his old romance with Maya Lahan (Laila Rouass), but Sir Harry Pearce (Peter Firth) and Intelligence Officer Ruth Evershed (Nicola Walker) are continually torn between their own would-be romance and life at Thames House.

New writers Jonathan Brackley and Sam Vincent (Hotel Babylon) spend too much of this fall 2010 season’s reduced eight episodes on daily terrorism and saving the UK’s day.  Yes, we still have MI-5’s great intricate plots, intelligence, and relevant debates with oil talk, recession topics, and other global events. It’s refreshing to breakaway from standard terror plots to have Chinese and Russian relations, indeed. Unfortunately, all that intrigue is a lot less intriguing without the personal elements from our resident spies- the very piece that made MI-5 so delightful.  Without these private reflections or focus on what goes on beyond the Grid, this season’s episodes seem to end too soon or feel shorter despite being the same solid 50 plus minutes.  The viewer just doesn’t care as much about the same old misunderstood gunman or unknown bomber week after week- especially when we know so little about our regular players.  Season 9 feels like a shadow of MI-5’s former self, and even I’m ready for it to wrap up after Series 10.  The ‘people who happen to be spies’ angle has been chopped and lost in favor of the big shocker. Okay, the shockers are still damn good, but without the personal, it all just seems so hollow.  

Fortunately, Peter Firth and Nicola Walker remain the glue of the series. Right off the bat, these two hardened spies pussyfoot around their feelings.  To hell with the young and beautiful blondes, Harry and Ruth’s one on one private conversations are so, so pretty. I am so glad creator David Wolstencroft stuck with Sir Harry all these years.  He makes the show personal, the familiar old spy sacrificing in this changing world, fighting the good fight against global politics and all that. Again, time with its players is MI-5 at its best.  Harry’s phone call to his daughter is particularly touching- no need for flashy crap and over the top plots here. Just a family phone call when doing your duty for Queen and Country. Amen. Ruth also creates the perfect emotional fulcrum on the Grid, the expertise of life inside versus the unfulfilled life outside.  It’s also a wonderful surprise to catch up with Hugh Simon as tech guru Malcolm Wynn-Jones- the lovely old spook we thought made it out of the system!  Colin Salmon has a great guest stint as well.  It would have been nice to have a tongue in cheek crossover to his MI-6 Bond compatriot Charles Robinson, last seen in Die Another Day, but alas, no.

But Lucas, Lucas, Lucas! How much more iffy intrigue can they create here? It was crazy enough going thru all this romance and trauma crap with Adam, and the changes for Richard Armitage’s new lead are tiresome and annoying.  This is of course by no means Armitage’s fault- he does great intense stuff like nobody’s business. Unfortunately, the equally good Ian Glen (Game of Thrones) enters MI-5 for what is largely a cop out retread of prior mystery and betrayal thorns.  Are we really expected to believe Lucas’ complete character destruction because of woman?  And this is all meant to be what really happened before his Russian prison drama and estranged wife? The timeline twists and goofy identity crisis come completely out of left field.  This was before Lucas was Section Chief for the first time before Tom? Even with this groundwork being laid throughout the season, the end result is completely rushed and feels like the audience is screwed with information that we should have already known. Besides, doesn’t this make one too many rogue section leaders now?   Of course, despite this totally unrealistic turn, it’s all still dang intense down the line thanks to Armitage’s coming to play when the writers obviously didn’t.  I find it kind of twisted, even cruel, that the new crew makes it so we steady viewers really don’t know Lucas at all.  They Bobbied in the shower just for the shocker of it!  He’s in The Hobbit, we know. It’s okay to have him just walk into the sunset, really.

New to MI-5 Sofia Myles (Underworld) fairs no better in character development. I like that her Beth is a bit chubby, simply because she’s not what we’d expect as a spy.  That’s an undercover asset, is it not? However, they just thrust Beth upon us and try so hard to make her complicated before dropping any attempt at personal establishment all together.  Beth might not have been bad if we got to know her, but we never do, and to put it simply, she’s just not as good as Ros Myers was.  Beth tries to be warm, then she’s bitchy- which is it? I feel they were going for a wannabe Kate Winslet vibe, and I’m disappointed there has never been a black female lead or any ethnic section chief on MI-5.  What’s with all the dang blondes, weak entrances, and bad exits? Badass ladies, smartly placed, or unexpected players were once the core of the show. Though it was utterly gut wrenching, scream at the tele worthy at the time, in hindsight, getting intimate with our spies only to lose them or distrust them was part of the fun.

Max Brown was also a miss for Series 9. His Dimitri is given a barebones background and remains completely obvious throughout the season. I suppose he would have been cool in due time, but Brown never develops the big presence of previous MI-5 males. I can’t possibly imagine this guy being in charge after Richard Armitage- Brown looks too young and too pretty to be taken seriously, not at all like his fine subterfuge on The Tudors.  I feel like we are seeing Danny learn the ropes all over again- minus the heart, agony, and ‘getting to know you’.   Shazad Latif is also a waste as computer boy Tariq. Sometimes, the character is even made useless with the gadgetry- unlike Malcolm, who had something imperative every episode and did it with geeky class and wit. We don’t know where the new players live, what they like, how they deal after leaving Thames House.  You don’t have to take my word for it, however, just look at their character Wiki pages. It’s a paragraph of empty! Vincent Regan’s (300) tossed in finale appearance and new Home Secretary Simon Russell Beale’s (My Week with Marilyn) intensity are too little too late for MI-5 this season.

More focus is spent this series on action and cool locales like Morocco, and fortunately, it does all still look good. These little niches and slices of London are always cool for little ole American me. However, sometimes there is a bit too much running around and high tech babble making things confusing. Who is where and doing what? It’s fast paced, for sure, with the usual split screens, unique photography, and interesting intercuts in the timeline.  Nevertheless, I keep thinking of that first season moment with Tom Quinn looking through the mail slot at the bomb in his home and how throat clutching it was.  Do we really need all this wham bam?  Season 9 is most definitely not an introduction point for MI-5, the over the top plotting and highbrow action make it look like everything else on television- and all that comes at the expense of the fine character development that previously set MI-5 apart.

Longtime fans of MI-5 on both sides of the pond will still tune in for Series 9. Despite this subpar outing, I can’t wait to get my hand on the six-episode Season 10 swansong.  Is MI-5 still better than anything on US television? Probably. Is the writing on the wall that it has run its course? Yes. Look to your preferred rental or streaming options and enjoy MI-5 while it lasts.

MI-5: Season 8

A Few Faults, but MI-5 Season 8 Packs a Punch

By Kristin Battestella

Can you imagine my surprise when Netflix shipped Disc 1 of MI-5 Season 8 on its release date?  Seriously? No year of impatience with ‘very long wait’ delays and agonizing on the fates of the spies at Thames House? Not this time!

Section D members Ros Meyers (Hermione Norris) and Lucas North (Richard Armitage) race against the clock to rescue their Chief Sir Harry Pearce (Peter Firth) from the clutches of corrupt Russian agents- and exiled Intelligence Officer Ruth Evershed (Nicola Walker) is a critical piece of the mission.  Junior officer Jo Portman (Miranda Raison) and Tech guru Malcolm Wynn-Jones (Hugh Simon) struggle with the ups and downs of MI-5, while House Secretary Nicholas Blake (Robert Glenister) defends against dangerous political games at home and abroad.  Lucas perhaps finds romance with CIA Liaison Sara Caulfield (Genevieve O’Reilly), but the suspicious Nightingale operation may undue everyone at Thames House.  

It’s taken eight seasons, but I finally have some quibbles about MI-5 this series. Though tighter and more intense again in only eight episodes and kept crisp by the somber performances and edge of your seat politics, some of the opening storylines come across as a little bit of a rehash from earlier seasons. Too many similar relationships and Yalta shadow organizations seem uncharacteristically lazy from showrunner David Wolstencroft. However, I’m again impressed with plenty of juicy, ambiguous villainy- that type of villain who doesn’t think he is wrong and presents a grain of truth. Nay, this is the slick enemy who might actually be the one who’s right, for that’s the scariest kind, after all. This creates very intelligent drama and serious reflection, a refreshing turn since these recent seasons have been overtly leaning towards the action. In some ways, Season 8 returns to the heavy hitting personal dilemmas and gut wrenching stuff. Despite the usual ten episodes from MI-5’s height, these solid 57 minute, relatively bottled shows and reduced number of episodes seem to keep the heavy better. Yes, MI-5 has always been a political, statement making series.  However, Season 8 gets a little too political, perhaps even making some more anti-American bits than usual, too.  Then again, maybe it seems this way because now everyone has an opinion on every issue high and low and all around and we can read every single piece of it through every media source available. Whew!

A lot of slow motion and somber reflective scenes also add a much more heavy-handed design to the opening episodes this series.  Unfortunately, this direct focus on master global villain and political sentiment is at the expense of the main cast at Thames House. While the stories and action are still incredibly relevant and all is intelligent and good stuff, the regulars weren’t that big a part of it.  Somehow, it’s MI-5’s most critical piece that gets shortchanged amid all this excess being packed in. Instead of personal insights balancing the outside intrigue the main cast is overshadowed in relation to screen time with guest players, making an uneven rarity here.  It seems as if someone at MI-5 forgot that their story and players speak for themselves.  No other global statements or downplayed visuals are needed- these supports are meant to uplift the main stars, not detract. Seriously fine personal drama isn’t fully realized until the final episode, which spends more time on nuclear war anyway.  That ‘people who happen to be spies’ aspect of MI-5 is what kept the show so good for so long.  Why mess with the formula?

Thankfully, Hermione Norris is still pimpin’ as Ros Meyers. I would have liked a little more from her upon Jo’s exit, but what’s so disturbingly fun about Ros is that she always keeps it so cool and seems so unbothered. While the audience may know she is a ticking bomb, enemies who cross her path learn she’s the best in the biz- and usually they learn the hard way.  Her loyalty to Section D is without doubt, and yet Ros toes the line between lies, trust, and promises-wonderfully balancing the spy game rules for either good or ill.  Likewise, Richard Armitage matches Norris with edgy banter and heavy tasking. Even if MI-5 is  repeating on the CIA romance in Episodes 4 and 5, it’s nice to have that personal building with the season’s overall storyline. Again, this show is far superior when it’s about the blurred line between a seriously risky day job and an equally deadly personal lifestyle.  I like Lucas, even if I was yelling at the television at some of his mistaken actions.  Super Armitage fans will also enjoy some bits of nudity, too.

Nicola Walker, however, ups the class with her resurrected Ruth.  Despite some tragic circumstances in her return to Thames House, Ruth continues to be the moral fulcrum of the group.  I feel bad that most of her scenes are merely- if critical- intelligence exposition without field time and big action sequences, but in some ways, I enjoy the scenes between Ruth and Sir Harry the most.  Peter Firth is again delightful- perhaps more so when he can’t see the big picture and runs with his gut.  Hello, his position is not an easy one, and it’s so lovely to see a man sit back and realize he can’t handle the weight of the world on his shoulders without the fine colleagues about him. The unspoken tenderness between him and Ruth is again, a mature frankness we don’t often see among all the young and pretty people on American TV.

I’m sorry to see Hugh Simon’s tech old soul Malcolm Wynn-Jones exit, but his and Miranda Raison’s departure as Jo Portman are well done all around. Although in hindsight, both players were far under utilized and their exits were more about getting some angst at their losses rather than the characters themselves. The jury, however, is still out on new tech guru Tariq Masood.  Newcomer Shazad Motif receives no introduction at all- he’s actually just tossed in to MI-5, literally.  And I’m sorry, but what’s with the token minority anyway?  Why not have a lead minority and some more non-blondes for goodness sake. Why couldn’t we have had a black woman for our juicy CIA liaison? By no means is Genevieve O’Reilly bad, but I’m really unsure what to make of her, even though her credits include the likes of The Matrix Reloaded, Revenge of the Sith, and Avatar.  Again, it’s just that we’ve seen the sexy American intrigue before- give us something to spice it up, make us really care, and force us to pay attention beyond a touch and go Southern accent.  Robert Glenister (Hustle) is also caught between the proverbial rock and a hard place as MP Nicolas Blake, but his difficult road is a delight to watch.  

Despite my complaints about MI-5 this season, it’s still damn ass intense and interesting and addictive.  Let me tell you, I’ve never turned around 3 discs so fast! The herky jerky handheld camerawork is kind of aggressive, and the color palette is muted and not as creative as previous years- making me feel a little woozy and addicted to something else.  However, I imagine this design is meant to be more realistic and bleak then some of the fancy, stylized, probably more expensive shots from prior seasons. Truly, though, I don’t know why they started changing things up since Season 6. Naturally, things like smart phones, Facebook, and internet tech talk have to be considered- but it’s all a little weird and a bit much, however necessary it may be. And I have to ask: if Lucas is a damn spy, why is he always on speakerphone?!

There are two commentaries to open and close Series 8, but less than 20 minutes of behind the scenes- and that’s all about stunts.  Maybe that’s just how they feel Region 1 releases role, but the lack of features sucks compared to earlier video diaries and production interviews. I suppose I can’t complain now thanks to my no wait graces this viewing, but I’m still behind for Season 9 and the upcoming Series 10.  If after 8 years, MI-5 is starting to show some flaws, for now I can take it.  The good still far outweighs the bad.  Fans of the cast and quality action and intelligent thrillers can also still enjoy.  Once again, I don’t know what to do with myself now that I’ve caught up with MI-5 Season 8.  Perhaps I shouldn’t have watched all my discs so fast?  Nah.

MI-5: Season 7

MI-5 Packs A Lot for Season 7

By Kristin Battestella

Wow.  It’s taken me almost a year to catch up with MI-5 Season 7!  I had to wait a long time to rent all the DVDs from Netflix; and now that the gang from Thames House is back in my life, I don’t know how I survived so long without them!

Sir Harry Pierce (Peter Firth) struggles to keep Section D afloat after the sudden death of Senior Officer Adam Carter (Rupert Penry-Jones).  Despite the return of Ros Meyers (Hermione Norris) and junior officer Jo Portman (Miranda Raison) after particularly heady missions, life at Thames House is testy thanks to complex Russian relations inside and out.  Former Section Chief Lucas North (Richard Armitage) has been released from a Russian prisoner after eight years; and his relationships with Harry, tech officer Malcolm Wynn-Jones (Hugh Simon), and analyst Connie James (Gemma Jones) are ambiguous at best.  When Operation Sugarhorse is compromised amid the turmoil within, who trusts who becomes the ultimate question.

Despite being shortened to only eight episodes instead of ten for 2008’s Season 7, creator David Wolstencraft packs a lot onscreen here.  The writing and development of the personal is still tight, but the storylines and overarching plots are not as complex due to the episode constraints.  Some scenarios seem slow or more glossed over than previous seasons; but the Russian intrigue, mole hunts, and double agent hysteria keep MI-5 on form.  Recent global events like the energy crisis and recession woes share some of the spotlight, but Wolstencraft was smart to spend the bulk of the shortened time on the ins and outs at Thames House.  Perhaps MI-5 isn’t as personal as it used to be, ie ‘people who happen to spies’, but the internal politics, trust issues, and double crosses of the spy game hurt the members of Section D day in and day out nonetheless.

Well, after all the angst we put up with from Adam Carter, Rupert Penry-Jones’ departure from the series is almost too brief an exit.  Why did we spend all those cliffhangers with him when it could have been this simple? I knew his exit was forthcoming, but that didn’t make watching any easier.  And of course, it’s also fascinating to see how everyone else at MI-5 deals-or doesn’t deal-with the loss. So then, what is one to make of new leading man Richard Armitage as Lucas North?  I’m not really sure just yet.  We like him, sure- the man has just spent eight years in a Russian prison, how can we not feel for the guy? Armitage (Robin Hood, North and South) wonderfully balances the cool exterior against the prison and release trauma.  Paloma Baeza (The Way We Live Now) as his informant and former wife Elisaveta matches perfectly with her mix of past longing and a new future to protect. Lucas’ introduction takes several episodes to completely develop, and it is initially more personal like the earlier seasons of MI-5. There’s some screwed up people in Her Majesty’s Secret Service, and it makes for dang fine television! 

Cool as cucumber Hermione Norris is once again on form as new Section D Leader Ros Meyers. Her return to the series after a maternity leave has all the angst one could take-and things only get heavier for Ros.  Episode 5 adds some scary places for her and Miranda Raison’s Junior Officer Jo Portman, but it’s lovely to see the ladies share a special bond over the particular trials they face as the female spies at Thames House.  Jo is understandably wacky this season after the cliffhanger ending of Series 6, but such serious drama is mostly erroneously held in the background against the big missions of the episodes at hand.  Perhaps if we had those other two precious episodes, we could have had more of Jo’s tragedy. It’s not that we want her to be in pain, or that it’s really good for us to see it, but such heavy subjects are usually handled better on MI-5.  

There aren’t usually a lot of mistakes on MI-5, but Alex Lanipekun’s  junior officer Ben Kaplan is wasted for Series 7.  Once again, the young and hip token black guy really only factors into two critical episodes.  In some ways, I’d rather Ben have stayed a journalistic ally and appeared sporadically as needed. We still don’t know that much about him, and his departure from the series only serves to strengthen the drama of Section D.  Of course as always, there doesn’t seem to be enough of Hugh Simon and his witty tech guru Malcolm. Simon makes the most of all he’s given again, but I do hope we get to the root of this lovely old soul next season.  Richard Johnson (The Robinsons) is also juicy as ambiguous guest spy Bernard Qualtrough.

Somehow, amid the current politics and global intensity, we still have time for Sir Harry to dive into an old school KGB spy subplot.  Peter Firth is excellent as the boss who can’t tell everything to his staff, either privately or professionally.  What’s classified or compromised?  What isn’t?  Whom can he trust from the past or present, both at home and abroad? Firth is excellent and award worthy here. In this era of everyone being botoxed, thin, young, and beautiful, it’s simply delightful-but no less nail biting- to see the elder statesmen of the cast have their day.  I love Gemma Jones, but I don’t like Connie James-does that make sense?  Jones is equally on form as the seemingly maternal member of Section D with a penchant for blaming everything on the Russians.  At some point after a lengthy scene between Jones and Firth, I realized we had an entire sequence with two senior actors- and it was heavy stuff!  In America, we just don’t get this type of veteran respect and material to wallop an audience! 

Things do seem a little rushed this season due to episode crunch.  I feel rushed in my viewing and reviewing- I couldn’t believe how close to the finale things really were at the end of Episode 6! However, great London locations, Moscow escapades, fast paced filming, and urban action add to the split screen intensity.  Smart use of media clips and askew newsreels not only look visually cool; but the way Section D, the British government, and the onscreen enemies play on public relations is also a statement about the abuses of media politicking, too.  We spend a lot of the speed in Season 7 on the missions of the hour or the ongoing storylines before the personal lives and immediacy of Thames House, but the multi-layered drama and intelligent complexities are all still part of MI-5.  Someone has to save Britain from the daily brink of destruction, and it’s a thinking viewer’s delight to watch. With the short order and fresh start of Lucas North, this season can actually be a late introductory spot for new audiences to MI-5. I suppose that is what the producers had in mind, after all.  So what are you waiting for?

Unfortunately, there still isn’t enough behind the scenes treats on the MI-5, Vol. 7 Region 1 sets, but after waiting so long to see Season 7, I can’t really complain.  Sadly, I can also only speculate what the concluded eighth series and currently-in-production ninth year will bring, but I must do something while I wait for more MI-5.  I miss it again already!