I used to hate Shakespeare. Not because it was bad or I couldn't understand it, but because like every other English school child I was forced to read it. Not just once, but again and again as we painstakingly analysed every single sodding line. It would, I think, make an excellent form of punishment. Imagine the horror of being told to make notations for every nuance, every metaphor or else to do it all again with a whole new play. Kids would learn very quickly to shut the hell up and behave, lest they want to bleed from the ears, I can tell you that much. Yet, now I'm older and no longer have the educational gun to my head, I've found that I rather enjoy SOME of Shakespeare's work, most notably being Kenneth Branagh's Henry V and Leonardo Dicaprio's modern retelling of Romeo and Juliet. So, when I saw the trailer for Coriolanus my interest was naturally piqued. Modern warfare and classic literature? Just try and stop me.
The armour of contempt: Caius Marcius.
Having been written between 1605 and 1608, the first thing I have to say is how well the story has aged. Obviously revamped and brought into the 21st century by director Ralph Fiennes, Coriolanus and it's tale of pride and treachery is still as relatable and tragic as it was 400 years ago. General Caius Marcius, played here by none other than Lord Voldemort and director Ralph Fiennes himself, is a hero of Rome, bane of their hated enemies the Volscians and noble to the core. His disdain for the plebeians, the common folk is well known, demonstrated early in the film as he faces down a rioting mob. Awarded the title Coriolanus he is set to be Consul, before the machinations of politicos and his own pride banish him from the very city he has given everything to protect and into the arms of his greatest enemies. As a character it is hard to like Coriolanus, his arrogance and brutality too overbearing for the modern pallet, but you can respect him for staying true to his convictions. Fiennes's portrayal is intense and moving, bringing to life a legendary general who is now believed to have never existed. While his fall from grace is as deserved as engineered by those who would seek power themselves.
"This is Shakespeare!"
The supporting cast is an impressive array, with Brian Cox, Vanessa Redgrave, an under used Jessica Chastain and Gerard Butler as Volscian leader Tulfus Aufidius . Each performance, while not necessarily stunning, is in line with Shakespeare's characters. Each wrangling for their own agendas, their own advancement while Coriolanus is immovable in his convictions. Relegated to being a pawn as he singularly refuses to play the games of those around him. I have to say that Butler took me by surprise, his roughness, his inner Leonidas giving him the perfect counterpoise to Fiennes's calculated yet refined Roman general. The parallels between the modern West and the Middle East are clear to see, but aren't forced in our faces, the tale of a 2500 year old struggle between the civilised Romans and the more barbaric Volscians successfully being preserved and not sacrificed to contemporary politics. This is still first and foremost the tragedy of one man.
Modern Warfare, 2500 years in the making.
Overall the modern setting is successful if a little jarring at times. It's odd to see a military figure lauded as a hero or a man in a suit spouting Shakespearean cant, but once you get past the initial disorientation the story takes care of the rest, as do the action scenes. While these aren't extensive, they are well choreographed as is the fight between Caius Marcius and Tulfus Aufidius. My only complaint was that there wasn't more of it, that a few more explosions and a bigger battle would hardly of compromised the Shakespearean tone. But hey, that could just be my Die Hard side talking.
The problem Coriolanus has is that it's a little too far outside the norm for literary buffs and not Hollywood enough for the majority of film goers. It would definitely explain the films overall poor performance, but it would be unfair to judge it by this alone. Shakespeare naturally puts many of us off, memories of hours pouring over one work or another forever seared into our brains. So, what I would say is give Coriolanus a chance to change your minds. Now that you're a little older, a little wiser, the language is far from insurmountable and leaves you feeling pretty clever come the closing credits. How many movies can claim that?
Beneath my layers of cynicism, disappointment and burning resentment, I am and always will be, aStar Warsfan. It's in my nature. No matter how many half-arsed, poorly produced, badly written pieces of fierfek Lucas authorises I will stand firm, albeit embarrassed, by my universe. It makes no sense really. It's the product of my inner fanatic, nay, my inner religiosity. I've grown up with Star Wars and I'll be damned if I'll be run out of town by the blatant money grabbing which has come to epitomise everything about the series. I mean, come on, Oshaka Tano? Really George, do you hate us that much? But on top of my blind adoration sits a nugget of hope that every once in a while still glints, is still capable of rousing my wounded loyalty. A small gust of wind clears the ashes of so many cash ins and I can feel that Star Warsiness again.
Clear the way Delta.
In Star Wars: Republic Commando I found a respite from Jar Jar Binks, Anakin Skywalker, droids cracking wise and the oh dear god pain of it all. In a sound choice, Lucasarts took this foray into the universe in a completely different direction, a grittier direction, than we have seen before. Bypassing Jedi, Sith and the whole galactic wide shabang you are thrown into the fire that is the Clone Wars with nothing but your Decce, wits and three man team of elite Commandos. Lead animator David Bogan said he wanted to "focus in on the military aspect ofStar Wars," and I think he and his team did a pretty fine job. From blasting doors, slicing terminals and altogether behaving like unstoppable badasses, you get to take the war to the Separatists like never before. That isn't to say the game doesn't have it's flaws, but we can get to those later.
Opening with the battle of Geonosis as seen in Star Wars: Attack of the Clones, you progress through three separate campaigns in varying locales. Through the bowels of a ghost ship fighting off Trandoshian slaver scum, the lofty heights of theWookie homeworld, Kashyyk and the droid foundries of Geonosis. Each has it's own distinct flavour and never feels like a rehash of what's gone before. It speaks volumes such detail was put into a genre that often suffers from the same tired and recycled scenery all executed with minimal effort. Actually, the entire game enjoys a level of attention not seen in a Star Wars game since Knight's of the Old Republic, with everything from the sound to the command hud being designed to a tee. Utilising Foley Sound, originally designed for film, Republic Commando specialises in bringing the whole package. Creaking armour and the approach of enemies coincides with the visual presentation with natural precision. Would you like to know more? Take a look below.
Sniper Rifles, AKA Precision Shotguns
On the subject of realism, the command interface for your squad is deserving of special mention. Whether you're ordering your men to take firing positions to fend off a particularly nasty Sep ambush, or to slice a door for rapid entry, at no point did I feel handicapped by the system. Using a collection of five keys you can keep your squad under control and firmly on the objective. Thinking about it, my buddies Sev, FixerandScorch are probably the best NPC allies I've ever had, even having the nonce to beat off an attack before coming to rescue my sorry shebs. On many an occasion I found myself embarrassingly incapacitated and being chastised for my gung ho attitude while being revived. It was a humbling experience being told off by an NPC that was actually right for a change. It has to be said that Republic Commando isn't a game in which you can readily run and gun, but nor does it suffer the shame of cover-based game play. You can order your men to take certain positions and you can feel free to shield yourself behind a wall, but don't for a second think you'll be cowering there for long. It's all about the action baby. With your Decce ion blaster and it's multiple attachments you'll be raising hell and fighting for your life. Choosing which attachment to use in any given situation does require a bit of a knack. For instance, you'd better be saving those armour piercing grenades for the droid heavies and not wasting them on your bob standard battle variants, even if they do clear a room faster than a Nemoidian tax collector. My personal favourite was the sniper attachment, packing one hell of a wallop and accuracy all in one neat package.
But just as the Republic are efficient and roll all their killing implements into one, the other races in the game possess their own unique styles and quirks. The Trandoshians are projectile based, nasty and look like they've been put together with all the care and attention warranted in your average Toydarian junk store. Meanwhile the Geonosian beam weapon is a clicking, clacking, breakable looking thing that belays it's deadliness. My only real complaint is that the basic Decce is unsuited for killing anything tougher than a battle droid with any ease and lacks the punch to stick it to heavier opponents. So balls to the wall you'd better have a thermal detonator handy or it's lights out for Delta Squad.
Trandoshian Weaponry: Good as new with a slap of paint.
Having complimented the game to within an inch of worship there are a few problems that need addressing. First and most importantly of all, it feels a bit short. I ran through it in about eight hours and while this is standard fair for a shooter I was kind of hoping that the Lucasarts team would have gone that extra parsec like they had throughout. I was genuinely disappointed when I reached the end credits, although that could just be a sign of wanting more of a good thing. Also, while the selection of weapons is eclectic it's not that vast, with about six pieces besides those which are attachments for your standard Decce. This may seem a small gripe, but it would have been fun to really put those Commando skills to the test with a more blistering arsenal and customisable load out.
So coming to the end Star Wars: Republic Commandois a first rate, standout shooter that does almost everything right. The detail is truly fantastic and keeps the player immersed in a universe which seems genuinely alive, well until you start killing things. It demonstrates that there is still mileage left in the Star Wars engine if the time and effort is invested properly, and not on anymore drivel that is meant to convince us Anakin Skywalker is Darth Vader. Delta Squad are a fine addition to the universe fully deserving of their place in the lore, alongside Han Solo, the Death Star and evenJabba the Hutt. As surely asRepublic Commando deserves a place in your video game collection.
These days violence is everywhere, be it in movies, video games or right outside your living room window if you happen to live in Hull. So it's fair to say that it's hard to really effect an audience, draw them in with a little mindless gun play and pints of fake blood. It has to be crafted, it has to seem necessary and most of all it has to toe the line between being gratuitous and justifiable. It is in this sweet spot that Dredd operates. Is it brutal? Yes. Does it make you cringe at times? Yes. Does it fit the tone, the character, the entire movies focus? Hell yes. You see being an 18 Dredd has the license to push boundaries and be downright bloody, but director Pete Travis seems to have twigged that gore alone doesn't make a film. It can in fact ruin one. So he set out to make a flick that is adult, in keeping with the Judge Dredd universe and doesn't lose itself in the process to childish Saw V antics. Something which could have easily been done with a character like Dredd, a one man wrecking machine with the ability to dole out justice straight into the brain pan of any would be criminal. A Dredd directed by Paul W.S Anderson really.
Smiling's for pussies and criminals.
So it was going to take a pretty stoic and outright badass actor to take on the role of Mega City Ones most unstoppable Judge. Someone like Bruce Willis, Jason Statham or the guy who played the green Power Ranger for instance. They got Karl Urban, and by the end of the movie I could barely comprehend why I would have ever wanted anyone else. Never removing his helmet the entire film it was going to be quite the challenge to portray Dredd as anything but an automaton, maybe packing a few quips but lacking in any real personality. For while not a complicated character to portray in any other action movie, being unable to express yourself with a full set of facial features is one huge handicap. Yet somehow, Urban pulls it off. With a voice that sounds like he chugs gravel like normal men down coffee, a mouth which has never even seen a picture, of a ghost of a smile, and an intimidating screen presence he brings Dredd to life and revels in it. He is the law and I'll be damned if I'm going to disagree.
Judges Dredd and Anderson enforcing the law.
Lena Headey as Ma-Ma: She's a wholesome lady.
Now that we have our enforcer, our title character it was up to writer Alex Garland to put Dredd in just the right situation for his select number of personality traits to shine. There couldn't be a repeat of Stallone's rambling mess or the franchise would never rise again. So enter a rookie Judge (Olivia Thirlby), a drug lord with serious anger management issues (Lena Headey) and 200 levels of degenerate criminal scum and you've got yourself a Judge's worst nightmare. Any Judge that isn't Dredd of course. Even with Olivia Thirlby's trainee Judge Anderson in tow he's a one man army and completely devout in his pursuit of justice, which amounts to some exceptionally cool set piece shoot outs and you leaving the cinema feeling pumped up to the eyeballs with manly testosterone. Anderson, it must be said, acts as a fine counter pose to Urban's slab of concrete emotional dysfunction, bringing a much needed human element to the film. As between Ma-Ma (Lena Headey) and Dredd there are some very extreme and psychotic personas flying about vying for attention, sometimes in the form of mini guns and brutal executions. So it's nice to have Anderson's grounding influence to remind us we haven't strayed into an asylum for gun wielding sociopaths.
Fear not citizens, I'm only out for a jog.
Being a post apocalyptic setting Dredd has to come with a certain desperation, a battle for survival that is defining of the time. In this area Dredd pulls off a more than passable depiction of a world in ruins, of corruption and crime running rampant. Every now and again the sets do seem a bit bear but it fits the aesthetic of the movie and doesn't feel like a cop out on the part of the budget. A few times I was reminded of the original Total Recall by the general murkiness of the world, minus the venerable Shwarzenegger that is. Without a doubt the entire movies success stems from it's serious tone, pulling away from the ridiculous campiness of the original in favour of a grittiness more in keeping with the series.
Coming to a conclusion Dredd is easily my favourite movie of the year, beating out The Avengers and The Dark Knight Rises for the top spot. And this is for one simple reason. It achieves everything it sets out to do. There are no moments where I felt the plot, the script or the action had dropped the ball and to me that's just plain impressive. It's boxes of action, violence and comic book loyalty are all neatly ticked. It was tightly executed from beginning to finish and I really hope to see another in the offing, as where else can anyone be both a bit nerdy and bloodthirsty in cinema these days?
I'm sorry Bioware, NO! NO, NO, NO! Having only purchased Mass Effect 3 recently I'm a bit behind the times; as such however, I'd already heard the phenomenally bad press it's finale had attracted. So I'm not here to bash on the bear bones, kick in my crotch embarrassment that is the original game. But the fix job Bioware released to patch the problem. The problem being of course that different coloured lights and three shitty choices do not an ending make. You see I've looked around and there are mixed opinions on the DLC, some hate it, others like it and some are just happy that an extended cut exists. That their beloved universe will not have to suffer the shame of attending the sci-fi franchise annual wine tasting with such failure tucked between it's deflated butt cheeks. And interestingly enough, it is with these people that I have the biggest beef. With whom I would like to engage in some friendly cajoling before I introduced them to the pointy end of my omni tool. Why you ask? Why humble reviewer, are you in such an uncontrollable rage? Because you don't pat a dog on the head for crapping outside after it's already shat on the carpet, that's why!
Don't get me wrong, it's commendable that having whored themselves out to the dark forces of EA that Bioware could comprehend the idea of consumer dissatisfaction, but it doesn't make up for the original failure. It just knocks a few years off the sentence and I'll be damned if they get to come out of this with an unsullied rectum. Sure, they've made the endings longer and filled in some rather large plot holes: like how did your team make it to the Normandy and why do the Mass Relays explode in every ending sequence? But it doesn't change the fact that the conclusion, the original upon which these fixes were based, plain sucked. I mean, wow, in pretty much every option you are given, minus the bonus were Shepherd can survive, you have to kill your character. Whether you destroy, control or merge with the Reapers you pretty much kick the proverbial bucket. And all I can ask is, why? Why Bioware are you so intent on forcing us to die? Do you hate us that much? Do you feel that your writing staff is so shoddy they can only make something dramatic by killing a character many have invested three games worth of effort into? It makes no sense; why can't there be a happy ending; why can't we CHOOSE to live? As this is a video game that, despite ignoring it's previous incarnations when it suited, champions the player as master of his/her own destiny. And don't even get me started on the Galactic Readiness scale, which again fails to have any effect on the outcome of the game even though it was its entire sodding focus. I mean, these are the people you want to thank for the extended cut? A company who barely seemed to understand what was happening in their own franchise?
I am raging, I appreciate that, but I think Bioware's slap job is beyond the realms of acceptable behaviour. Releasing an incomplete product and then fixing it is, well, just plain dickish. If anything they should have received a curt "good" from the fan base as the extended cut was humbly handed over and been sent to sit in the corner and think about what they'd done. As even with the DLC I still felt that the entire synthetic-organic paradigm was as weak as they came, as such issues were not central to the saga. They played their part, especially with the Geth and Quarrian story line, but it feels tacked on in the end. Like the writers couldn't be bothered and instead through out the old, Order vs Chaos bit. It seemed overly contrived, how the Reapers had to trim the galactic hedge every 50,000 years to avoid some vague synthetic rebellion and ultimate organic extermination. If anything by uniting the Geth and the Quarrians this entire theory falls to pieces faster than your average Kevin Sorbo series.
Anyway I am beginning to drift a tad here, so lets round up. Bioware did bad. Bad Bioware! Don't do that anymore! Then again with Dragon Age 3 on the way maybe I'll be back again this time next year, only a lot drunker and still trying to figure out what a Turian/Human baby would look like. I love you Garrus, too bad Bioware said we couldn't be together. If only there was a way for a computer geek, playing a female character and romancing an alien bird man could make it work in this crazy universe, but I don't see it happening anytime soon.
P.S - Yes the child ending is ridiculous, stilted and completely out of touch with the franchise, but I think that's been pretty well covered already. I'm all out of rage people.
I've never been the biggest fan of moral choice systems. As a rule I avoid their annual parade, social mixer and jiggly ball tournament in favour of a whiskey on the rocks and some manly air guitar. The problem I've always found is that no matter how hard a studio tries, they invariably end up making a parody version of actual morality. A cut and dry set up where decisions are this or that with no in between. Because in between would be boring I suppose, who wants realism in their games anyway? Being a champion of evil or good is the best that you can hope for. Due to this, the only way to retain my interest is through good, solid storytelling. By making the decisions I make seem tangible. As while I can control only the extremes of my virtual soul, maybe I can make more of an impact in the virtual world. Maybe, just maybe I'll matter and at the same time make me question my decisions, bypassing the messy moral game system and communicating directly with my own grey matter. Now, having played many an RPG, from SWTOR 2 to Dragon Age: Origins, I have learned not to expect such dramatic self determination. If I kill I'm bad, if I find away out of the situation without killing, I'm good. Ring a bell?
Tali'Zorah
So you can imagine my shock, my surprise when in the conclusion to Bioware's sci-fi oddysey I felt myself regretting, nay, fully questioning myself and my decisions. If you haven't completed Mass Effect 3 or generally like to retain some mystery in your life, this is the point where you look away. Go twiddle your thumbs or play on the motorway. Anyway, so the story goes while pulling the universe together in one final effort to defeat the intergalactic machine menace, the Reapers, you must make a variety of tough and at times branching decisions. This in itself of course is not where the gut wrenching doubt emerges from, but it sets the scene rather nicely. As you encounter friends, old and new from across the fiction of Mass Effect's past video game forays, you begin to realise that your priorities may have changed, that they no longer coincide with your former comrades in arms.
My allies, for the greater good!
Some will betray you, others drift away and a few will end up as blood on your hands. It is in one such instance that my doubt finds root. Enter the Geth, the Quarians and 200 years of conflict. Their war is coming to an end and you must choose who to grant the right of life, and who to in the process let wither on the vine. Entire civilizations in the palm of your hand. Again, this in itself without any personal connection could have fallen flat on it's face, just a bunch of inconsequential pixels blinking out of existence. But thanks to one Tali'zorah you seal not only the fate of an entire species, but your friend as well. It's an interesting question, what would you sacrifice to hold onto those you loved? In this instance, could you let countless billions possibly die all for one individual? I chose the billions, I aligned with the Geth and I watched the Migrant Fleet go down in flames. Just so many pixels. In the process however, I destroyed a character with whom I had travelled the galaxy and like you do with some well written characters, cared about. It was a bittersweet moment and one that I would like to see more in modern gaming. As an interactive medium without the support of good storytelling we're really just killing time and possibly improving our hand eye co-ordination. So we need more Tali'zorahs, we need more heart wrenching moments as otherwise, what's the point? We're just feeding studios to pump out more of the same. So I salute you Tali'zorah and I truly am sorry. But the needs of the many... Well, you know the rest.
I have to say that lately I've found myself in a bit of a funk when it comes to shooters. It's almost like the romance has gone from the relationship, the love that we once felt for one another turning stale. Gone is the whimsy of the 90's and early 2000's, with their Quakes and their Red Factions, their Dooms and unending streams of World War 2 imitators. Remember when dogs could drive back in the original Medal of Honour? Now that was gaming. Sadly however, we now live in an age of Kane and Lynch, Gears of War and loathe most of all, Call of Duty. Don't get me wrong, these are all very popular franchises but between the cover mechanics and blatant money grabbing it's hard to feel anything but disappointed in the games industry. They're the abusive spouse, putting us down and taking our money, while we continue to love them despite the misgivings in our gut. So when I picked up Transformers: War for Cybertron at the poultry price of £3.75, I can't say I was expecting all that much. Michael Bay had seen to that. But now it's ten hours of play later and I have to say, well done Half Moon Studios.
Megatron, "Death to the Autobots!"
In a wise turn they ignored the diabolical offerings of the silver screen and stuck to the cartoon of my youth. A semi ridiculous, over the top story about transforming robots battling across the stars. On one side, lead by the heroic Optimus Prime stands the Autobots, the other, Megatron's evil Decepticons. They have changed a few things here and there, for instance Megatron no longer turns into a pistol, as well, it was kind of stupid to begin with. But at it's heart, War for Cybertron stays faithful, expanding the universe and giving us a look into the history of the conflict that started it all. Ever wondered how Starscream betrayed the Autobots, or Optimus succeeded to the rank of Prime? It's really a lot of fun and quite the nostalgia trip. I mean sure, the dialogue is kind of corny and the story a little 2 dimensional, but that's what Transformers is all about. It's not masterpiece theatre but nor is it meant to be.
Cybertronian Optimus
Beyond the simple thrill of playing as my childhood favourites each of the Autobots and Decepticons have been brought to life with great detail. The fluid movements between transformations mirroring their cartoon counterparts to a tee. There really is nothing like jumping off a platform only to turn mid air into a deadly fighter jet. It can take some getting used to, when and where to switch between vehicle and robot, but once you have it down the sparks sure do fly. Also it must be noted that as this is pre earth, or G1 depending how in the know you are, the models aren't identical to those found in the series, but they retain enough of their personality as to be instantly recognisable. It obviously wouldn't have made sense to have Optimus rolling around Cybertron as a Kenworth truck. Not that it wouldn't have been entertaining to see.
The game is divided along the faction lines, with half the game dedicated to the Decepticons and the other, the Autobots. This may seem a little off putting, that to play the story in order you have to go through one campaign first, but with the option to choose which you play and the story being fairly straightforward nothing is really lost, there are no spoilers to ruin the ride. Simply put, Megatron wants a weapon, he gets the weapon and then you have to fight Megatron to stop him destroying Cybertron with the weapon. Arguably the most succinct synopsis of a game ever written. Just the simple nature of the story is a breath of fresh air, with no ham handed attempts at drama making their way into the script and stealing focus from the action.
Do you like my gun? I vandalised it myself.
On a graphical front the game gives a solid performance that while not stunning, doesn't disappoint either. This can be put down to the games multiple ports, so if you feel like blaming anyone for it's lack of Crysis beauty, take it up with the console jockeys. Cybertron comes alive as the Transformers home world, a foreign construct of steel and rivets that manages to possess an organic quality at the same time. It has been criticised for lacking an expansive, Dulux colour pad design scheme, but I feel that in this instance it can be forgiven. There are only so many shades of grey after all, but with some interesting level design and plenty of action you'll barely notice. You'll be far too busy slaughtering your way through your robotic foes, whoever they may be. And I have to say, that while the selection of weapons to hand aren't mind blowing, they do have that oompf factor required to really get stuck in. From oversized EMP Shotguns to Neutron Blasters there's enough to keep you killing with glee for many an encounter. You can even rip mounted turrets from the ground and heft them around 80's action hero style, I wet myself a little at that. The melee component is boiled down to whacking whatever gets in your way with, for example, a bloody great axe, depending on who you are playing as. But I felt it's relative simplicity was and is compensated for by the myriad of special abilities you can throw out to thwart your opponents. My personal favourite being the energy shield deployable by Warpath, which is extremely handy in a firefight where you're taking a pounding.
So to conclude, Transformers: War for Cybertron satisfies an itch for no holds barred, shooty fun. It doesn't demand a great deal in return, just a steady trigger finger and an appreciation for robot on robot violence. The fact that it fills in some gaps in the Transformers law is a gift to fans of the series, but it doesn't require any foreknowledge on the players part to enjoy. The camp, over the top bad guys and overpowered weapons see to that. It is, therefore, everything it says on the tin and well worth a look, if only to escape the repetitiveness of modern shooters and their equally meaningless characterisations. Autobots, roll out!
I'm an avid believer in giving T.V shows second chances. It's not that I'm particularly charitable, I just don't like the idea of missing something good based on a less than stellar opening. I did it with Ashes to Ashes, I did it with Torchwood and I even did it with Battlestar Galactica. Sometimes being persistent can really pay off, with Commander Adama now ranking as one of my all time favourite T.V characters. But right from the start I've felt that there is something off about Falling Skies, that it's entire tone is just plain wrong. The answer to this, I thought, lay in a weak setup at the beginning of the series and the truly dire trumpet wailing soundtrack. A bike arrives, the trumpets wail. A main character is in peril, the trumpets wail. An alien moons Noah Wyle and still, the sodding trumpets wail! It completely flattens any sense of drama the show has, never letting it take off. Music is meant to convey to us what is happening on the screen, it foreshadows, it enunciates. So if you carpet bomb an entire episode with the same desultory tunes, you're either suggesting everything is equally important, or as it actually seems, that everything is as pointless as that which preceded it. Either Spielberg really thinks he's that good, in which case he can kiss my E.T hating ass, or he really has lost his marbles. Maybe one of those stallions from War Horse gave him a sharp kick in the head, as god knows he needs a good excuse at this point? Who knows, maybe he doesn't even watch the damn thing, just rubberstamps it with his prestigious ego.
Aliens have the best killer robots.
Now, where was I? Right, so it's fair to say that I might have become a little obsessed with what could be a single failure in an otherwise fine show. So with that in mind I sat down to watch the season 2 premier, hopeful, my negative opinions dulled by times sweet passage (Read into that what you will). And you know what, for the first two minutes it almost had me. There was shooting galore, enemy Mechs exploding and those ugly, spider Skitter things getting riddled with bullets. But it was like Spielberg couldn't help himself, and soon that nascent score was back tormenting my every waking moment. This was then compounded by another realisation. Something which had managed to slip by my super-sleuth honed eye during the first season. And that's how awful the writing, direction and acting actually is. So one could say I dropped the ball a smidgen on that one, as it really is dire.
Connor Jessup, actor extraordinaire.
The epitome, the focus of all three of these failures can be found in Noah Wyle's son, Ben, played by Connor Jessup. Now, just for those of you who don't know, Ben was captured by the aliens, effectively brainwashed and fixed with something called a Harness. This is some freaky bit of alien technology that runs down your back and plugs into your spine. Having been rescued however, he is left a different person, a shell who retains the strength lent to him by the alien device. So fair enough, he's going to be a bit messed up. Instead however, he comes across as obnoxious and completely devoid of any emotion, something which could be said to be his character but rather feels like just bad acting. Even his body language, having just killed a Skitter with a knife, doesn't fit as surely given how much he hates the aliens this would be the moment to see him exultant. It comes across as exceptionally amateur and a chore to watch. I have no idea how this slipped by the directors notice, but it borders on the absurd when the trumpets start wailing and Ben looks like he's trying to swallow a lemon.
(Sigh) Bring it back.
On the writing front we can see a definite lack of direction from the get go. At the beginning of the first season it's about surviving and finding Ben, which they do in about four episodes. After that however, nothing really seems to happen. They run into some aliens, a couple of bandits, but there's no feeling that there's an over arcing plot. It's much the same problem I had with Stargate Universe. You can't just stick a bunch of people in a desperate situation, have a few crisis here and there and justifiably call it television! I would say it's too episodic, but that's not strictly true either as we are continually reminded that the aliens are the enemy, that they're the friggin centre of the universe every twenty goddamn seconds! And I have to say, I am in no way riffing on episodic T.V shows. I grew up with Star Trek: The Next Generation so I have a fondness for that type of storytelling. No, Falling Skies subscribes to the idea of story arcs while never actually delivering. One has to wonder if the writers were told to coast it due to having the "venerable" Spielberg attached to the project. If they've ever seen A.I, they should be more concerned for their jobs.
Meet the Big Bad.
Now, given all these problems and more, the season 2 premier did have a few things going for it. Firstly, we finally met the head honcho, the alien overlord, the big cheese. He offers Noah Wyle and the human species the opportunity for peace, a safe haven. This Mr Wyle roundly rejects and for the life of me I can't think why. Sure, it'd be humiliating but from what I've seen of the rebels they don't stand a chance anyway. There's a difference between heroism for a cause and committing suicide after all. The aliens make a big deal about how they've never encountered such fierce resistance, but I ain't seeing it. Apart from killing a few Skitters here, a few mechs there, the entire alien occupation seems to be going like clockwork. The rebels really are just an "inconvenience" as the aliens say and Noah probably should have thought things through a little more before jabbing the big boss with a stun stick. That probably pissed him off a little. So in a nutshell it's now up to him to deliver this message to the human race and see who bites, and unless something drastically changes I'd be seriously considering kicking back my heels in that nice little sanctuary. Also the budget seems to have been given an up, the mechs and Skitters making more of an appearance and with more presence. Whether this continues throughout the series we'll have to wait and see, but chances are we might be seeing a little more gun play in the coming episodes.
So we'll see where Falling Skies goes from here. The big problem in my opinion is that the producers won't realise their series is an interesting idea marred by pretty much everything they've done so far. I think attaching Spielberg to the project was a bad move, it's not his kind of deal. This is an ACTION sci-fi show and he simply doesn't have the chops to deliver kick ass fight scenes and an entertaining story line. Instead we end up with this muddled mess, a bit of shooting and a yawn worthy plot. Who knows, maybe it'll get better? But I'd be willing to gamble everything I own that Falling Skies won't be sitting on my shelf in a years time rubbing shoulders with my Galactica box set, I can tell you that much.
