Happy Death Day – Film Review

It’s a rare occasion when a great performance manages to elevate an otherwise sucky movie. The likes of Nicholas Cage and Eva Green have made careers out of the art – but very few others have managed to pop up out of the mess and do something truly special to make their movie watchable. Jessica Rothe does just that in Happy Death Day, her full-blooded performance turning an otherwise forgettably bloodless teen slasher movie into a genuine thrill.

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Rothe plays Teresa – or Tree for short – an irresponsible college student whose birthday – a day she already loathes – gets off to the worst possible start when she wakes up hungover in the dorm room of her adorably dorky one-night-stand. Naturally, things get progressively worse for Tree in the ensuing 24 hours as she endures repeated calls from her disappointed dad, snarky snipping from her sorority sisters and the needy advnaces of her sexually confused ex. Oh yeah, and she gets murdered in a campus underpass by a baby-faced psychopath. But then she wakes up, stuck in the same day, unable to to break the cycle until she finds her killer.

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Few surprises lay ahead in this slasher horror meets teen comedy as Tree naively barrels into every cliche in the horror cannon in her attempt to Live.Die.Repeat her way to uncovering her killer’s identity. There’s enough walking through darkly lit corridors and fleeing into obvious dead ends that genre aficionados will likely suffer a repetitive strain injury from the amount of eye rolling they’ll be doing. The lack of invention wouldn’t be so problematic if Tree’s many deaths weren’t so scare-free and gore-less. That’s the key flaw with this Groundhog Day-aping format: we already know she’ll wake up again so we have no reason to fear her next impending demise – especially as it appears it’ll be largely painless.

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Thankfully, Rothe is the movie’s saving grace. Whether she’s strutting across a college campus in the nude, delivering brilliantly bitchy one-liners with venomous aplomb or going full Sarah Connor in her attempts to defeat her killer, Tree is a fireball of badass energy that actually makes the movie a fun, spirited watch for 90 minutes. It’s also pretty refreshing to see a female action hero being so unafraid to be unlikeable and confident in her sexuality – at least until she’s bizarrely slut-shamed by an incomprehensible third act twist. It’s just a shame that the rest of the movie doesn’t share her boldness.

Runtime: 96 mins (approx.)
Director: Christopher Landon
Screenwriter: Scott Lobdell
Stars: Jessica Rothe, Israel Broussard, Ruby Modine, Charles Aitken

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Blade Runner 2049 – Film Review

If reviving the Star Wars franchise seemed a near-Herculean task, spare a thought for Dennis Villeneuve. Revitalising the superlative space saga might’ve had its challenges, but at least its legion of fans were of one mind about their expectations. In creating this long-awaited follow-up to Blade Runner, Villeneuve faced a much tougher assignment, its diehard supporters having spend the past 35 years pouring over every iteration of the sci-fi classic, endlessly debating the plot’s myriad mysteries. While Villeneuve wisely steers clear of offering any definitive answers to those questions, there’s no doubt Blade Runner 2049 defies even the loftiest of expectations.

Scripted by Michael Green and Hampton Fancher – who also penned the original – 2049 unsurprisingly picks up three decades after the first film. The intervening years have not been kind to Earth: the climate has collapsed and the wealthiest citizens have abandoned ship for the off-world colonies, leaving only the poorest, who survive on synthetic gruel and the companionship of holographic call girls.

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The Tyrell Corporation has also fallen, bought out by the Jared Leto-led Wallace Corporation, who’ve created a brand new line of replicants, more compliant than the Nexus-6 models thanks to the eradication of troublesome features like emotions or free will. Ryan Gosling’s Agent K is one of the new breed, a blade runner tasked with hunting down and retiring older models. His latest mission leads K to an encounter with Dave Bautista’s protein farmer where he makes a startling discovery that causes him to question his own existence and the future of the human race.

To say anymore would be to spoil a bold, absorbing movie, who’s mysteries are best discovered as the story unfolds. What is certain is that 2049 is a much cleaner, easier watch than its predecessor. Whereas the original was deliberately, almost punishingly obtuse, Villeneuve’s update feels like a much brisker watch – despite being 45 minutes longer – and is more open about it’s intentions, rather than hiding everything behind a wall of portentous eulogising.

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Not that Blade Runner has become yet another commercialised blockbuster filled with city-pulverising, vertiginous actions sequences. 2049 remains a slow-burning, deeply ponderous detective story that gently muses on themes of isolation, identity and human connection in a way that feels like a natural progression to the first film. Any violence is brief but brutal and purposeful, acting as a sudden, devastating blow within a supremely satisfying, emotionally compelling narrative.

The defining elements of the original’s dark, twisted future world remain intact, too. Eyeballs are a prominent motif, fluorescent-hared denizens still munch on Asian street food and the Voight-Kampff test has become an even more distressing experience. In fact, so delicately has Villeneuve recreated the look and feel of the original, it’s almost to his detriment. Blade Runner was such a ground-breaking piece of work at least in part due to Ridley Scott’s impressively realised neon-drenched futurescape, which has been aped countless times over the intervening years. By contrast, 2049’s rain-soaked tower blocks and dust bowl necropolises feel like just another respectful copy – albeit a superbly crafted one.

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One area where 2049 undoubtedly excels is in the performances of its two leads. Gosling once again demonstrates his talent for imbuing deep pathos into handsomely passive characters, transforming the outwardly machine-like K into a thoughtful, engrossing presence. Harrison Ford is on similarly excellent form. Returning to yet another classic character, Ford’s skills are seriously tested in role that requires him to dig much deeper into Deckard’s emotional state than in his previous outing.

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Only Jared Leto, playing self-aggrandising, monologue-prone industrialist Niander Wallace, feels below his best. Though given he’s lumbered with an entirely superfluous character who exists solely to deliver drawn-out theological rants to Sylvia Hoecks’ super-humanly patient replicant enforcer, it’s perhaps no surprise that Leto would resort to biting huge chunks out of the gorgeous scenery.

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Without an engaging antagonist to match the Rutger Hauer’s tragic skinjob Roy and the unplanned poetic alchemy of his ‘Tears in rain’ soliloquy, 2049 misses some of the devastating emotional force of its predecessor. Yet that shouldn’t detract from what’s otherwise an extraordinary achievement by Villeneuve. Whether Blade Runner 2049 lives up to the expectations of its demanding fanbase will no doubt be debated for at least another 30 years, but there’s no denying Villeneuve has succeeded in crafting a smart, gripping and thought-provoking movie that immensley satisfying in its own right.

Runtime: 163 mins (approx.)
Director: Dennis Villeneuve
Screenwriters: Michael Green, Hampton Fancher
Stars: Ryan Gosling, Harrison Ford, Jared Leto, Sylvia Hoecks

It – film review

For those who’ve ever pondered what the resultant movie would’ve looked like had Stephen Spielberg directed The Exorcist in 1973, Andy Muchietti’s It might be the closest you’ll get to the real thing. Pitched somewhere between The Goonies and E.T., if either of those movies had a penchant for perma-grinning demonic clowns or severed toddler arms being munched on like breadsticks, this latest adaptation of Stephen King’s classic tome is a heartfelt coming-of-age yarn that will pin you to your seat – even if it doesn’t always rattle your bones with fear.

Barring a few slight differential nods, this new version immediately sets itself apart from the Tim Curry-starring TV movie of 1990 by making some smart updates to the source material. Discarding the cumbersome back-and-forth timelines (saving the grown-up part of the story for a planned sequel), Muchietti shifts the action forward from the quaint 1950s to an Amblin-inspired 80s that often makes it feel like we’ve mistakenly dropped in on the set of Netflix’s Stranger Things.

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Like that TV show, It hones in on a band of young outsiders, each with their own identifiable dysfunction. There’s Richie, the class joker; Ben, the chubby new kid on the block; Miles, the orphaned son of a sheep farmer; Eddie, a germaphobic mama’s boy; Stan, whose dad is a rabbi; Bev, the snarky token female of the group; and stuttering B-B-Bill, whose little brother was believed to have drowned during a heavy storm.

Though it leads to a rather baggy and cliche-riddled opening third, Muchietti’s devotion to developing each member of The Losers Club pays off to great effect when the gang eventually face-off against Bill Skarsgard’s titular supernatural being. Each kid has their own frightening encounter with Pennywise, who often takes the form of their greatest fears.

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While the fright-factor of these encounters is fairly hit or miss – Bev’s bloody grapple with a tangle of sentient drain hair is chest-poundingly terrifying, while Eddie’s tussle with a decaying patient feels rote by comparison – they’re still intensely gripping throughout, the horrifying effect amplified because we understand the personal stakes for each kid and feel invested in their survival.

It helps that the entire cast are superb throughout, each perfectly capturing the carefree recklessness of youth and the paralysing fear of impending adulthood that courses through the veins of every adolescent.

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And then there’s Pennywise. Though Tim Curry’s iconic performance will continue to linger long in the memory, Skarsgard has successfully carved out his own distinct interpretation of the unhinged child killer. With his oversized porcelain dome, puffy cheeks, protruding bottom lip and grubby Victorian garb, Pennywise is a triumph of make-up and design. Yet it’s the subtle nuances in Skarsgard’s performance that really draw you in and disturb. The realisation that It’s eyes aren’t looking in the same direction as Skarsgard executes that slight malevolent smirk and a bead of drool drips from his chunky fangs will unsettle even the toughest of moviegoers.

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The only disappointment is that the resultant horrors don’t quite match the insidious power of Skarsgard’s performance. Muchietti leans heavily on well-worn horror tropes, with jump scares, spooky empty rooms and bone-snapping body horror all getting a thorough airing here. The practical effects work is mightily impressive, but the set-pieces themselves so often fail to elicit a stir simply because we’re so familiar with how they will play out. It’s telling that the most chilling scenes of all are the moments when the kids are subjected to real-life horrors, whether it’s a harrowing encounter with a rabid school bully or the uncomfortable touches of Bev’s lecherous father. Proof that sometimes the suggestion of evil can be even more potent that the real thing.

Nevertheless, It works surprisingly well as a standalone movie – a rarity in these times of tentpole blockbusters, unleashing an emotionally affecting tale that effectively relays the horror in King’s original novel while amplifying its heart. How Muchietti will make the second part as entertaining and satisfying is anyone’s guess, but the very prospect has us grinning like a bloodthirsty demonic clown whose just spotted his next victim.

Runtime: 133 mins (approx.)
Director: Andy Muchietti
Screenwriters: Chase Palmer, Gary Dauberman, Cary Fukunaga
Stars: Bill Skarsgard, Jaeden Lieberher, Jeremy Taylor, Sophie Lillis, Finn Wolfhard, Chosen Jacobs, Jack Grazer

Valerian and the City of a Thousand Planets – Film Review

Clearly emboldened by the success of his most recent bonkers sci-fi extravaganza Lucy, which turned Scarlett Johansson into a crime-fighting super-brain fuelled by magic drugs, Luc Besson’s latest returns to the genre for what might be his most outrageously ambitious movie yet. Valerian and the City of a Thousand Planets is not only based on a much vaunted comic strip (the Star Wars-Influencing Valérian and Laureline) and boasts enough eye-popping digital wizardry to rival Avatar, at $180million, it’s also the most expensively assembled independent movie ever released. In short, it’s a movie so colossally risky even James Cameron would need to think twice. The result is a surreal, neon candy-coated carnival of astounding imagination that’s irreparably marred by an almost complete absence of story or substance.

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Besson’s visual audacity must be applauded. Like a toddler who’s been handed a fresh pack of sharpies and unleashed on a newly painted wall, the writer/director doesn’t hold back from allowing every outlandish idea that pops into his brain to splurge onto the screen as he constructs a world so vividly extravagant it makes Jupiter Ascending’s gaudy opulence look shabby and understated by comparison. A fluorescent menagerie of wonderfully weird creatures, the planet of interlocking space stations that is Besson’s primary playground is host to memory eating jellyfish, gossiping platypus, a shape-shifting Rihanna performing a strip tease and much more besides. Every frame is overflowing with bizarre and bewildering inventions, it’s impossible to absorb it all in one screening.

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Not that repeated viewings are advised. For all the dazzling, ludicrously inventive visuals on show, everything else about this movie – the story, characters, pace and tone – thoroughly underwhelm to almost extraordinary levels. What little plot there is sees Valerian and Laureline (Dane DeHaan and Cara Delevingne), intergalactic space cops who protect humanity throughout the cosmos while engaging in clunky flirtatious banter, attempt to prevent unseen nefarious forces from destroying Alpha A, the bulging megalopolis that’s home to more than 8,000 alien species. It’s a story as thin and flimsy as it sounds, with barely enough action to pad out its two-and-a-quarter-hour runtime. And yet it still feels exhausting, largely because Besson can’t resist taking needless detours that stall rather than propel the narrative, just so he can justify unleashing yet another of his lurid creations onto the screen.

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As for the ersatz romance between Valerian and Laureline, it’s a stilted, overwhelmingly saccharine relationship that feels like it’s been ripped straight from the dog-eared pages of a Mills & Boon novel, including the creakingly cliched dialogue. It’s no wonder DeHaan and Delevingne struggle to muster enough chemistry to convince of their attraction. DeHaan is particularly out of his depth, woefully miscast as the swaggeringly suave action hero – a role so far removed from the pallid, peculiar misfits he usually excels at playing. Laureline, meanwhile, has been stripped of all her wit and intellect, leaving Delevingne with little more to do than scowl and make sarcastic comebacks while arching one of her impressive brows at Valerian’s cocksure antics.

There’s plenty of giddy delights to be enjoyed within Valerian and the Planet of a Thousand Cities. The only trouble is: as soon as the novelty of roaming around Besson’s phantasmagorical theme park has worn off, you desperately discover that there’s hardly anything of worth inside the enticingly psychedelic packaging.

Runtime: 137mins

Writer/Director: Luc Besson

Stars: Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna

War for the Planet of the Apes – Film Review

Bigger means better has long been Hollywood’s default setting. Larger budgets allow for expanded casts, more exotic locations and mightier explosions to blow up bigger landmarks into even tinnier pieces – all in the name of ensuring people buy more tickets again. That’s why Avengers: Infinity War, the upcoming 19th film in the MCU, is set to feature every Marvel hero known to man – along with a few we’ve never heard of before. How else will audiences be entertained if we don’t constantly bombard them with a constant supply of budget-bulging cataclysmic action sequences?

War for the Planet of the Apes is the antithesis to this preconception. Having already delivered a prequel that wasn’t a complete disaster and a sequel that was deeper and more compelling than the original, the third instalment of the rebooted series again subverts expectations by eschewing the ballistics-heavy battles promised in its title. Instead, it offers a intimate and sombre tale of a highly intelligent ape grappling with his darker instincts. And it’s all the more powerful for it.

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That being said, the movie kicks off with an almighty skirmish as a camo-striped strike force drop into the apes’ woodland hideout and engage in a grim and gritty gunfight among the trees. The soldiers are searching for Caesar, the highly evolved chimpanzee who led his kind to freedom from the humans, who has been so long withdrawn from view that he has taken on an almost mythical status among the human troops. But when the arboreal assault results in unimaginable losses for Caesar, he’s forced to come out of hiding to embark on a revenge-fuelled mission to kill Woody Harrleson’s sadistic Colonel, and end the war once and for all.

This perilous journey ‘upriver’ in search of a psychotic military leader will undoubtedly prompt comparisons with Francis Ford Coppola’s hallucinatory masterpiece Apocalypse Now – indeed, one piece of graffiti scrawled onto the walls of Alpha Omega’s military compound makes the obligatory Ape-pocalypse Now gag. Yet, as Caesar, along with his three closest advisors, Maurice, Luca and Rocket, and a mute young girl they rescue along the way, rides out onto the breathtaking California vistas, War more closely brings to mind epic westerns of the 1950s. Even the likes of Ben-Hur and the Ten Commandments get referenced, Caesar’s quest taking on Biblical proportions as he confronts his demons and becomes tasked with freeing his kind and leading them to a promised land across the desert.

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As the conflicted Caesar, Andy Serkis is a formidable presence, bringing a Shakespearian sense of grandeur to the simian leader. It’s not just the ape-like physicality that he nails, though. So much of Caesar’s troubles are internalised: having spent much of Dawn failing to convince Koba to let go of his hatred towards humans, he now finds himself consumed by rage for the Colonel and has to battle with his baser bloodlust. That Serkis is able to convey these complex emotions by making subtle tweaks to his furrowed brow is truly remarkable. The digital technology has taken another dramatic leap forward – the verisimilitude in the texture of the apes’ damp, matted fur is astounding – yet it would all be for nought were it not for the delicate craftsmanship of the film’s performers.

With so much of the focus on his personal circumstances, it’s somewhat inevitable that the broader divide between apes and humans is not quite as nuanced as we saw in Dawn. Still, many of the humans characters are given enough layers to make them compelling. None more so that Woody Harrelson’s swivel-eyed warmonger, the Colonel. Though initial seen as a cruel, Kurtz-a-like crackpot who’s beyond redemption, he’s granted additional depth by an unexpected plot pivot that lends a reason to his vicious acts. Suddenly, we realise he’s not too different to his anthropoid antagonist – he just a little further along the road to ruin.

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It’s not all bleak introspection and grim determination, though – War offers up a surprising level of comic relief. This mostly comes via Steve Zahn’s Bad Ape, a hermitic chimp who escaped from a zoo after the outbreak of Simian Flu and somehow manages to charm his way into Caesar’s troop. There’s a Dobby-esque warmth to be found in his hapless enthusiasm to help his new friends, and his heartwarming journey from loneliness to valued member of the tribe is a rare fuzzy moment that helps to lighten proceedings when they threaten to become too entrapped in darkness.

Of course, War is not completely without action and when the epic final showdown between the warring species inevitably comes to pass, it’s an exhilaratingly well executed cacophony of fur and fireballs that would make Michael Bay blanche. Yet it remains an entertaining sideshow to Caesar’s more sombre, though no less gripping, attempts to seek redemption. It’s a bold, original, and incredibly powerful conclusion that finally allows Serkis to showcase his so often overlooked talents and also brings this groundbreaking trilogy to a memorable, wholly satisfying close. Turns out, bigger isn’t always better after all.

Runtime: 140 mins (approx.)

Director: Matt Reeves

Screenwriters: Mark Bomback, Matt Reeves

Stars: Andy Serkis, Woody Harrelson, Amiah Miller, Steve Zahn

Spider-man: Homecoming – Film Review

After six movies and two reboots in the last 15 years – not to mention a further 16 outings for Marvel’s other heavy hitters since 2008 – fans could be forgiven for growing weary at the thought of yet another Spider-man movie. Thankfully, Spider-man: Homecoming repays audience persistence in spades.

Having already wowed fans with his zingy and zestful cameo in Captain America: Civil War, Tom Holland’s first full outing as the web slinging crime fighter deftly walks a tricky tightrope between paying heed to the larger Marvel machine and offering a fresh and revitalising spin on the typical comic book movie template.

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By far the film’s best move is skipping Spidey’s tired-and-tested origin story, with which we’re already far too familiar. Unburdened by the shackles of dead parents, murdered uncles, cute neighbours and radioactive spider bites, we’re free to jump straight into the action.

Picking up right after that almighty skirmish over the Skovia Accords, 15-year-old Peter Parker is dropped back in Queens by his new mentor Tony Stark and told to wait by the phone for another call to join up with the Avengers. Cut to two months later: Peter’s heard nothing from Stark and his reluctant minder Happy Hogan (Jon Favreau) isn’t returning any of his texts, leaving Peter to act like ‘a friendly neighbourhood Spider-man’, catching petty thieves and helping old ladies with directions in return for deep-fried Mexican treats.

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Scaling back the influence of the larger Marvel universe proves to be a masterstroke. Though Downey Jr’s Stark featured heavily in the promos, his appearances here are minimal and fit seamlessly into the story. And with the wider MCU taking a backseat, there’s plenty of room for us to get to know our new hero in greater depth than ever before. The result is something more akin to a high school comedy than a superhero movie as Peter tries to contend with jealous school bullies, getting invited to the cool girl’s party and finding a date for homecoming dance; all the while squeezing a spot of crime fighting between the end of school and his 10pm curfew.

With so much of the focus on the young hero, it’s handy that he happens to be the best on-screen Spider-man thus far. Introduced geeking out in a homemade video after meeting the Avengers, there’s something instantly endearing about Holland’s version of the web slinger. Though he’s gifted with spider-like abilities, he feels entirely relatable. Like any teenager, Peter is reckless, impulsive, dangerously ambitious and refreshingly earnest in his attempts to figure out what kind of person he wants to be.

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He also happens to be appealingly lame as a superhero, struggling to control his powers (understandable, considering he now has more than 500 web settings in his new Stark-modified suit) and frequently falling flat on his face during his hapless attempts to help others. That he remains likeable even when his mistakes have potentially fatal consequences is in no small part due to Holland’s cheeky and heartfelt performance.

Drawing sparky performances out of talented youngsters is quickly becoming a calling card of director Jon Watts. Having caught the eye with revenge thriller Cop Car, which deftly balanced gripping thrills with dark humour, Watts brings a similar lightness of touch to proceedings here. The freshman humour is uproariously on point – there’s a great Ferris Buller gag – and even the action sequences are peppered with quick-witted one liners.

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Yet Watts appears to struggle when dealing with the larger scale demands of helming a Marvel movie. Many of the big set-pieces, while effective and well-executed, feel far too mundane to make much of an impact. And except for a vertiginous rescue atop the Washington Monument, there’s not a single action sequence that sticks in the memory, which falls far below the level of inventiveness we’ve come to expect of a summer blockbuster.

This lack of whizz-bang visuals is more than compensated for by the presence of a surprisingly compelling villain. Like Peter Parker, Michael Keaton’s Adrian Toomes is an ordinary guy trying to cope with extraordinary circumstances. A former salvager who turns to illegal arms trafficking to support his family, Toomes’ motivation is entirely believable, if not forgivable. Even more so when you consider the political context of his actions – Toomes makes angry speech about rising up against the greedy 1% who keep all the money for themselves – which feels incredibly relevant in the wake of President Trump and Brexit.

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It’s not quite perfect. The final showdown between Toomes and Spider-man inevitably descends into the usual blurry CGI slugfest and many of the female characters are completely without their own purpose or agency. Yet these issues feel like minor quibbles in a movie as fresh and invigorating as this. Ditching the overwhelming superhero angst and sludgy pacing which dogged previous incarnations of the character, and replacing it with a fun and breezy coming-of-age comedy, the youthful Spider-man: Homecoming is the most original comic book movie to swing into cinemas in a very long time.

Runtime: 133 mins

Director: Jon Watts

Screenwriters: Jonathan Goldstein, John Francis Daley

Stars: Tom Holland, Michael Keaton, Robert Downey Jr, Jacob Batalon

Doctor Who: World Enough and Time – TV Review

After months of anticipation, fevered fan-speculation and increasingly bombastic promos, the first part of the series 10 finale has finally arrived. And not a moment too soon. Although the current run of episodes started promisingly, it feels like the series has been coasting towards the finish line of late, with a few too many fun-but-fruitless episodes that have done little to advance the larger series’ arc.

That’s not an accusation that can be levelled against World Enough and Time, which boasts a Doctor-Missy team-up, the return of a classic Doctor Who foe and the ’surprise’ resurrection of one of the Time Lord’s greatest enemies in an action-packed plot. And yet, while there’s no denying this is one of the most marvellously audacious episodes of recent memory, it still manages to underwhelm, largely because it blew all of its major plot-twists before the episode even aired.

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The opening moments fly by, though. A dramatic foreshadowing of the Capaldi’s upcoming regeneration swiftly swerving into a brisk and breezy sequence where an apparently repentant Missy, with her “disposables” Bill and Nardole in toll, tries to save a ginormous space ship from being sucked into the event horizon of a black hole.

It’s an unexpectedly fun, lighthearted sequence for a series finale, with Michelle Gomez back to her whimsically scathing best as a Doctor-in-training. The scene also boasts some gorgeous CGI work in the realisation of the space ship, which really wouldn’t look out of place on the big screen.

And then, Moffat punches the air out of us by literally blowing a hole through Bill’s chest. In a heart-stopping scene, the Doctor desperately pleas with a trigger-happy crew member who wants to kill Bill before an unseen, human-hunting monster comes to take them all, but he can do nothing to stop the inevitable. Her near-fatal wounding is devastating, exposing the Doctor’s steadily growing recklessness and altering Bill’s relationship with the Time Lord in potentially irrevocable ways.

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It’s here that World Enough starts to falter. We all know Moffat is fond of time-wimey plots with multiple, interlocking timelines and his obsession with the device seriously hampers the story this time. Firstly, we’re ripped away from Bill’s horrific attack for a needless flashback to the Doctor and his companion breezily planning Missy’s training exercise. We then spend the rest of the episode cutting between Bill’s time in the ship’s creepy medical wing and Doctor’s rapid attempts to find her.

Moffat at least gives this structure an intriguing twist where, due to the effect of gravity on time, Bill and the Twelve experience time at different speeds, meaning a minute for the Doctor equates to weeks of waiting for Bill. It’s a neat concept, yet it adds almost nothing to the plot other than taking us away from Bill’s harrowing experiences in the grim doldrums of the ship in order to watch Capaldi repeatedly attempt to explain the science behind the time difference to Missy and Nardole.

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It’s a shame because when it focuses on Bill’s traumatic period waiting for the Doctor to save her, World Enough really soars. The eerie hospital setting, complete with creepy patients robotically shouting out in pain, is fantastically evocative of The Empty Child and director Rachel Talay takes full advantage, utilising creaking door hinges, shadowy hallways, and jump scares to ramp up the fear factor.

Most chilling of all are the Mondasian Cybermen. Faithfully recreated in every detail, these classic man-bun sporting foes are scary as hell, their ghostly masks and human-looking hands making for an unsettling sight. Moffat has also delved deeper into their macabre conversion method to create something that is both disturbing and tragic – you almost feel sorry for these pitiful-yet-petrifying creatures.

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Of course, the Cybermen aren’t the only bad guys in town this week. It’s no secret that John Simm’s maniacal incarnation of the Master is the one who’s really pulling the strings behind the scenes and his big reveal towards the end of the episode is worth the wait. Newly goateed and having ditched the hooded-hobo look from The End of Time, Simm is back to his teasingly machiavellian best, introduced toying with an unsuspecting Missy before gleefully revealing his diabolical plan. It’s a short appearance but it’s one that holds plenty of promise ahead of a fuller outing next week.

The only problem is we see all of this coming.

You don’t need to have obsessively trawled through message boards in search of spoilers to know that the Mondasian Cyberman and the Master feature heavily in this episode – it was right there in last week’s preview trailer. Yet Moffat insists on acting like we have no idea what’s coming, slowly building up to what are intended to be shocking reveals, when in fact we already knew what to expect before the episode even aired.

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It leads to a bizarre scenario where we spend the majority of the episode watching Simm parade around disguised as Bill’s kind hearted friend Mr Razor. Simm is mightily impressive in the role, imbuing Razor with warmth, kindness, and slightly off-kilter charm, but it’s all for nothing. Even most absent-minded viewer wouldn’t need long to work out its Simm hiding behind the mountain of prosthetics. Likewise, Bill’s early demise and subsequent transformation into a Cyberman are so clearly signposted that they lose all impact. World Enough feels like a surprise party where you can see feet poking out under the curtain and your nan’s head peaking from behind the sofa.

On the plus side, with Master back in full flow and Bill trapped in the casing of a Cyberman, the stage is set for a spectacular series finale next week. World Enough got so many things right – the pace, the tone, emotional resonance were all marvellously handled. If only it hadn’t all been spoiled by an over-abundance of pre-publicity, it could’ve been one of finest episode of modern Who. Instead, if feels like one massive missed opportunity.