The Chronicles of Narnia: Live Action Films (2005-10)

The Chronicles of Narnia: Live Action Films

Dirs. Andrew Adamson (Films I + II) / Michael Apted (Film III)

01. The Lion, the Witch and the Wardrobe (2005). Aside from a few minor changes and a couple of newly written action scenes — because it's Hollywood and they just can't help themselves — the WMG + Disney version of C.S. Lewis' beloved children's novel is better than I expected it to be.

The first third is excellent, including each of the young actors. Lucy (Georgie Henley) is particularly good, in that she successfully embodies the sense of wonder that a child should feel after finding another world in the back of an old wardrobe.

Things only really begin to slide when the talking CGI animals appear. The great lion Aslan should have a splendour that eclipses all else, but his being rendered in boring CGI most of the time means that he might as well not be there at all.

The unnecessary use of such across the board is a stain on what I feel is otherwise the best filmed version of the novel, to date.

Primal: From the Cradle to the Grave (1992)

Primal: From the Cradle to the Grave (1992)

Authors: Clive Barker / Daniel G. Chichester / Erik Saltzgaber

Illustrator: John Van Fleet | Page Count: 64

'Tiny bones are cast aside, sweet suck of marrow still within. Half-masticated gristle spit out to make way for new treats.'

Fortunately, I chose to read Primal on the strength of Clive Barker's involvement and didn't read the blurb on the back until after I'd finished the book in its entirety. I recommend the same approach to anyone who may be interested in reading it because the blurb is spoilery.

In case that sounds like a recommendation, I'll jump ahead and sum up my thoughts now: it was deeply disappointing and isn't something I plan to revisit.

Barker's influence is felt chiefly at the book's beginning, in its basic themes and initial mysteries, and in how it incorporates notions of sexual desire mixed with esoteric experimentation, exploring how a hungering lust for new  experiences can open doorways to darker realms.

The Pocket Book of Boosh (2009)

The Pocket Book of Boosh (2009)

Author: Various (inc. Noel Fielding & Julian Barratt) | Page Count: 304

"…prose so taught you can feel the veins."

If you liked The Mighty Boosh TV Series, then you'll probably like The Pocket Book of Boosh. Provided you like tie-in books and can read English text.

If you can't read, don't fret, there are pictures. It even has a comic book featuring Rudy and Spider.

The content is exactly the same as The Mighty Book of Boosh, which came first, and was bigger. This one came second, and is smaller.

I shit you not.

That's as complicated as it gets.

NOTE: You don't actually need to have pockets.

Princess Mononoke (1997)

Princess Mononoke (1997)

Dir. Hayao Miyazaki

There's often an environmental message in Hayao Miyazaki's works, but it's much more aggressive in Princess Mononoke than in any Ghibli film that he'd made prior, and because of that it feels less safe.

It's Nature versus Industry in a war that neither side can win. Trapped in the middle is a village Prince named Ashitaka. The youth is unwilling to take sides, but at the same time is determined to put an end to the conflict. He's even prepared to die, if necessary.

The girl with the warpainted face on the cover is San. She sides with the animals, which gives her a very direct focus, initially, but, for reasons that are too spoilery to go into, she's also one of the more interesting characters.

Perfect Blue (1997)

Perfect Blue (1997)

Dir. Satoshi Kon

PB explores the true cost of success for twenty-one-year-old Mima Kirigoe as she makes the difficult transition from beloved Japanese idol status to impressionable TV drama actress.

Eager to please, when the fiction in Mima's head overlaps with the fiction on the film set, shit gets real, with the kind of meaningful editing that Alfred Hitchcock might applaud, if he was alive.

Perfect Blue is director Satoshi Kon's début full-length movie, but it flows like it was his fourth or fifth. It's both a careful study of splintering, crumbling reality and a skilful exercise in artifice.

The result is a genre classic that's chilling, creepy, and can be uncomfortable viewing at times, but is highly recommended to fans of anime with bite.

PTU: Police Tactical Unit (2003)

PTU: Police Tactical Unit (2003)

aka Tactical Unit: Into the Perilous Night

Dir. Johnnie To

A small team of Hong Kong Police Tactical Unit troopers search the streets for a comrade's missing gun over the course of one eventful night. They're the typical scumbag law enforcers that are common the world over, the kind that's ordinarily difficult to sympathise with, and yet somehow Dir. Johnnie To encourages viewers to do just that; and with each incremental, upwards notch of the danger level, one can stay fixedly right alongside them.

It didn't have a huge budget, but it evidently didn't need one. Instead, PTU has enough dramatic style and subtle humour to keep the meticulously paced slow burn of the story engaging until the various threads of the story meet and it becomes more than the sum of its parts; like the roads of a busy city, its avenues and pathways are interconnected.

There's music occasionally (by Chung Chi-wing) but mostly the sounds of the night-time streets are what's heard, functioning as another subtle but perfect connection to the environment.

V/A: Presumed Guilty (1998)

Presumed Guilty (1998)

A compilation album presented as a protest against censorship in the music industry, particularly within the extreme metal genres. I believe the sentiment was genuine, but it's essentially a label sampler for the now defunct Misanthropy Records and its less well-known sub-labels Elfenblut and Heroine.

It's notable for containing half a dozen previously unreleased tracks from bands/artist who were on their roster at the time, namely Solstice; Burzum; Amber Asylum; Madder Mortem; Beyond Dawn; Endvra; and Monumentum. I'll add a full list of what's included at the post's end.

Pumping Iron + Pumping Iron II (1977-85)

Pumping Iron (1977)

Dirs. George Butler + Robert Fiore

A documentary's success is appreciable when it not only pleases its target audience but also holds the attention of a viewer who ordinarily has zero interest in the topic onto which it turns its lens.

Such it is with me and body building, a sport / discipline that I care nothing for. But the spotlight cast on the lifestyle by film-makers George Butler and Robert Fiore makes fascinating viewing.

The egos, arrogance, and rivalries are there, but they're balanced by a huge amount of competitor encouragement and friendly advice. How much of it was chosen for that specific purpose is unknown.

What comes through the most is that an unshakeable belief in oneself is just as important to success as hours spent gurning at the gym.

Planet of the Apes: Visionaries (2018)

Planet of the Apes: Visionaries (2018)

Author: Dana Gould (based on a screenplay by Rod Serling) | Illustrator: Chad Lewis | Page Count: 138

"It's a machine. The whole damn thing's a machine. Sophisticated and very ingenious... But always with the possibility of error."

A comic book based on Rod Serling's screenplay of the first Planet of the Apes movie, itself based on author Pierre Boulle's original La Planète des Singes (1963) novel, aka Monkey Planet. Serling's story was modified before being filmed, in part because it was a little too extravagant for the production team's budget, but much of what made it onscreen is present in the text, albeit occurring in a setting that's far removed from the pre-industrial one featured in the famous movie.

The main protagonist is US astronaut John Thomas, whose exploits take a similar path to that of Taylor in the movie, but his personality is very different.

What's most interesting about the book is the ape society, which is somewhat analogous to that of NY, circa 1950-60s. There are still social divisions between the three different ape types, but the hierarchy is less pronounced, so they work together a lot more closely than they did onscreen.

Pom Poko (1994)

Pom Poko (1994)

Dir. Isao Takahata

When their peaceful but playful way of life comes under threat by mankind's push for "urban development," a tanuki community is forced to abandon the rundown farmhouse in which they live, a building that was previously abandoned by its human occupants.

To combat the destructive 'modernisation', the critters call upon the past, rekindling the ancient tanuki art of shape-shifting.

There are references to the role of religion and superstition in the modern world, but foremost is the themes of ethics and nature and how both are often trodden on by an encroaching and money-hungry industry.

It's a Ghibli film directed by Takahata, whose work is often more hard-hitting and arguably more daring than a lot of Miyazaki's, so if you're planning to let the kids watch it, be aware that there are some unpleasant deaths.

The Sandman Presents: Petrefax (2000)

Petrefax (2000)

Author: Mike Carey | Illustrator: Steve Leialoha | Page Count: 88 (22 x 4)

"I had fallen in love with a dead woman. I asked myself if this was irony or merely an occupational hazard..."

A four-issue limited series that follows the titular Petrefax, an apprentice undertaker from the necropolis Litharge, who first appeared in The Sandman: Volume VIII: Worlds' End (1994). He's now a journeyman, seeking life experience in the wider, weirder world.

His travels take him to the bustling Malegrise, a place that brings to mind England of centuries gone by; the biggest difference being that 18th Century England wasn't home to sorcerers and demons (as far as I know).

I'm glad it was Mike Carey that was given the job of writing the miniseries. It suits his talents perfectly.

He was sole author of the ongoing Lucifer series at the time Petrefax was being published, but there's no evidence that he was stretching himself too thin. In fact, the reverse seems to be the case. He must've been on a creative high - both works are excellent.

The Legend of Zelda Manga: Legendary Ed. Vol. 04 (2017)

The Minish Cap (2006) / Phantom Hourglass (2009)

Author and Illustrator: Akira Himekawa | Page Count: 374

"The road you travel will be dangerous. Take this."

Series protagonist Link is always recognisable in his green duds and pointy hat, but he's not always the same Link. There are exceptions, of course, such as the one in Ocarina of Time and Majora's Mask, but mostly the character is different in each game. It's not a drastic change; it's more of a variation on a theme.

Akira Himekawa applies the same principle to each of her Links in the mangas. In The Minish Cap's case the artwork is one-hundred percent chibi. It would've made sense to draw certain parts of it that way, but unfortunately it's used from beginning to end.

I'm not a fan of the exaggerated art style, but judging by the level of excellence shown in the previous books I'm guessing that it's at least good chibi?

Perfect Blue: Awaken from a Dream (2018)

Perfect Blue: Awaken from a Dream (2018)

Author: Yoshikazu Takeuchi | Translator: Nathan A. Collins | Page Count: 196

'The screen glowed in monochrome static, the snow-like pattern punctuated by pulsing flashes in the signal, each flash accompanied by an abrasive noise like a cicada's call.'

The blurb on the back cover describes it as a 'sequel' to Yoshikazu Takeuchi's Perfect Blue: Complete Metamorphosis (2018), but it isn't that at all. And unlike CM, it's not a novel, but rather three separate short stories, similarly set in the pop-idol world.

I didn't enjoy the previous novel, but I'd foolishly bought Awaken from a Dream before reading the other, so I read it too, but with much lower expectations than I had for CM. I won't go into detail about each one because it would require giving the collection more time than I feel it warrants.

Takeuchi's basic template for a story is as follows:

Prey: Series Two (2015)

Prey: Series Two (2015)

Dir. Lewis Arnold | 3 episodes, approx 45 mins each.

Like Series 1 it begins in the thick of it and then skips back (eighteen hours this time) to show how the 'prey' got to be in their current situation. Most of the characters are new, as is the story, so you don't need to have seen the previous miniseries beforehand.

There's some minor continuity, but it's with one cast member only. Not having seen the previous episodes won't have any major impact on your viewing.

Alas, the person in question is DS Susan Reinhart (Rosie Cavaliero), the officer in charge of both cases and who was, for me, the weakest aspect of both. 

Everyone has their strengths — she'd maybe be well-cast as a scullery maid in a BBC period drama — but she's not convincing as a leader and driving force.

The duo she's chasing fare much better. David Murdoch and Jules Hope, played by Philip Glenister and MyAnna Buring, respectively, are on the run together but they aren't friends.

Prey: Series One (2014)

Prey: Series One (2014)

Dir. Nick Murphy | 3 episodes, approx 47 mins each.

It kicks off with an overturned police vehicle on a public road and a subsequent prisoner escape, but that event isn't the start of the story. After the damage is assessed there, it jumps back three days to the life of DC Marcus Farrow (John Simm) of the Manchester Metropolitan Police, characterising him through his job, his friendships, and his relationship with his ex-wife and their two young children.

Of the three things mentioned, the most notable for the viewer seems to be the job, specifically regarding the discovery of a body on the moors. But things thereafter don't go the way that most investigative TV procedural dramas usually do, it takes a left turn into a man-on-the-run conspiracy thriller. The body is important, but the main drive of the series is that of an innocent man (the 'prey' of the title) trying desperately to find the real killer so he can clear his name - all the while unsure of who he can trust.

The Prisoner: The Uncertainty Machine (2018)

The Prisoner: The Uncertainty Machine (2018)

Author: Peter Milligan | Illustrator: Colin Lorimer | Pages: 112

'I like to put at least two personas between me and my pursuers.'

Despite what the cover art of the individual issues might perfidiously imply, particularly the many variants, Patrick McGoohan isn't the protagonist of Titan Comics' continuation of The Prisoner (1967–68) TV series. He gets referenced more than once, in a way that feels wholly forced, but the story is about an entirely new character in a contemporary setting, albeit one that's also given the number 6 moniker - although, I don't recall him ever actually wearing the badge.

His true name is Breen, an operative for a division named 'Unit' within the British Intelligence (MI5). The majority of the first issue takes place outside of the stylised Village and provides a significant amount of backstory for Breen, compared to the earlier Number 6, who remained something of an enigma the whole time.

The Place Promised in Our Early Days (2004)

The Place Promised in Our Early Days (2004)

Dir. Makoto Shinkai / Yoshio Suzuki (asst)

Within their colourful world of fairy-tale blue and pink skies Shinkai's trio of yearning hopefuls exist to transmit thoughts and stir emotional responses in the viewer. On the ground, in a country divided, the threat of war looms, making the moments spent in each other's company even more precious.

Far in the distance stands a mystifying tower that seems as high as the heavens. More than just an unknown structure, it's a symbol upon which the characters pin their dreams. The shared desire to reach it, to lessen a physical distance in their own lives, is ultimately what brings them together.

The kind of wisdom that comes from knowing you were on the precipice of something beautiful but acutely aware that it could never be known fully until it passed is Shinkai's stock-in-trade.

Perfect Blue: Complete Metamorphosis (2018)

Perfect Blue: Complete Metamorphosis (2018)

Author: Yoshikazu Takeuchi | Translator: Nathan A. Collins | Page Count: 216

'I'm coming to meet you. I promise I'll come to you soon. I'll come to you, and I'll save you.'

Kirigoe Mima is a Japanese pop-idol. Three years in the business makes her a veteran, but her popularity, and therefore her career, is at something of an impasse. With so many hopeful idols (i.e. potential rivals) on the way up, Mima explores new avenues.

Her manager believes that moving away from her innocent image is the answer. He suggests that Mima explore paths that are more daring and seductive.

But not all members of the dedicated fan base that the pop-idol phenomenon attracts are accepting of their idols' life choices. For a small number of them, sometimes 'dedication' can cross a line and become 'obsession'. One fan in particular believes Mima ought to stay the same forever. He makes it his duty to ensure that she does just that; and if she refuses his selfless help, then it follows that it's his duty to punish her for her wicked betrayal, too.

The Prisoner (2009)

The Prisoner (2009)

Dir. Nick Hurran | 6 episodes, approx 45 minutes each.

The original The Prisoner (1967–68) is a classic example of British counterculture television. And even though it's a product of its time, its underlying commentaries and critiques of such things as politics and community are still arguably relevant. It didn't need a remake and it didn't need an update. But it got one. Mostly, it sucks.

For the benefit of anyone reading who didn't watch the original 1960s series, and therefore may not know what the title refers to, I'll give a brief synopsis of what you're in for with the 2009 version.

An unidentified man wakes in an unfamiliar location with no knowledge of how he got there. His travels take him to a nearby village that's filled with people, but none of the people have names. Instead, they have numbers. The new arrival is told that he's Number 6. Over the course of the miniseries Number 6 attempts to find out where The Village really is, why he was taken there and ultimately how he can escape from it.

Playing With Power: Nintendo NES Classics (2016)

Playing With Power:

Nintendo NES Classics (2016)

Authors: Garitt Rocha / Nick von Esmarch | Page Count: 320

'If you imagine the Game Pak as a cook book, the CPU would be the cook who follows the instructions — for every dish in the book at the same time.'

The best thing about Playing With Power is its presentation, specifically the hardcover edition (214 x 291 mm) that fits snugly inside a sturdy embossed slipcase that is itself designed to look like an oversized classic NES Game Pak. It's clever and it's beautiful. The paperback is much less interesting.

The editorial content of both, on the other hand, is as flimsy as the cardboard box that an original NES Game Pak would've been housed in when bought.

Some of it is reprint from old issues of Nintendo Power magazine. I know a lot of video game fans in America have a great nostalgia for NP, but it's not a publication that I ever even saw as a kid living in the UK. Therefore, I don't have the rose-tinted glasses that would be needed to fully enjoy it. From an objective PoV, the writing isn’t very good, even when taking into consideration that it seems to be tailored primarily for a teenage audience.