Doctor Who “Twice Upon a Time” Review

p05q8mdpAnd so, we have come to the end of two eras. Peter Capaldi departs the role of the Doctor after four years in the role and writer Steven Moffat departs the role of showrunner after seven years. Following the monumental triumph of the two parter World Enough and Time and The Doctor Falls, this year’s Christmas Special had to be truly, well, special to live up to it and provide a satisfying conclusion to both the Capaldi and Moffat eras of Doctor Who.

In a unique twist, there isn’t an identifiable “antagonist” within Twice Upon a Time. This makes it stand out from every other regeneration story. Instead it gives us another hour with the Twelfth Doctor, managing to end his era with a bow and a sense of hope. And I feel this is possibly the best decision that could have been made; the Doctor has already fought his final battle in The Doctor Falls and really, what was going to top two Masters and an army of Cybermen?

Instead, the special saw the Doctor encountering his first incarnation (played brilliantly by David Bradley) and attempting to solve the mystery of why a WW1 Captain ended up so far from the battlefield and of Testimony; a mysterious group that harvests the memories of the dead to allow the living to commune with them. This was a rather small-scale adventure that was more focused on the Doctors learning to accept change and that your memories make you who you are; not your body.


This message was imparted by one of the Testimony using the form of Bill, trying to explain that even though she may not have technically been Bill (Bill is still travelling with Heather through time and space), she still was debatably Bill as Bill’s memories are the sum of who she is . This tied into the regeneration incredibly well, for as the Doctors began to realise, it didn’t matter if they changed; the next Doctors would still have all their memories and would still be the Doctor. While each Doctor may be slightly different, they still are the same person acting on the same memories.

However, this led to a slight lack of urgency within the episode. With no immediate threat or ticking clock of any kind, it meant the special was slightly oddly paced. But yet, this didn’t negatively impact it. As I said before, this episode didn’t need a threat or urgency.

For this was an episode about performances.

Peter Capaldi delivered one final show stopping performance as the Doctor, reaffirming one last time why he is without a doubt one of the finest actors to ever take the role. Capaldi’s Doctor was a tour de force for the accomplished actor and this episode was no different. Capaldi brought the Doctor to life, delivering a Doctor who was both brand new and instantly familiar at the same time. Capaldi is a massive fan of the show, so to learn he had a hand in the writing of his regeneration speech comes as no surprise. The speech was masterful and a wonderful showcase of Capaldi’s range as an actor. Peter Capaldi was a wonderful addition to the show and he will be sorely missed.


The episode marked the return of the First Doctor (last properly seen in 1983’s The Five Doctors played by Richard Hurndall) this time played by David Bradley. Bradley doesn’t try to do a William Hartnell impression however, which was probably the wisest decision he could have made as an actor. Bradley chooses to focus on getting the character of the First Doctor right through his performance, this in turn lets Hartnell begin to slip through. After the initial few scenes, the issue of Bradley not being Hartnell vanishes. Instead, only the First Doctor is on display and Bradley plays the character brilliantly. However, Moffat makes the decision to narrow down the First Doctor to a few traits. While this is common practice for multi-Doctor episodes, it does mean that the character development the First Doctor had throughout his tenure is undone in order to present a First Doctor that most remember – the grouchy old man with 60’s attitudes and sensibilities. While this leads to a lot of the episode’s funniest moments, it is a little bit of a misrepresentation of the Doctor’s first incarnation.

Pearl Mackie returns as Bill for, presumably, her final time on the show. Mackie is once again fantastic as the character and all that can be said is that she remains instantly loveable and delivers more of what we all loved in Series 10. It’s also wonderful to see the Doctor and Bill have “one last ride” so to speak. Capaldi and Mackie have fantastic chemistry and it’s great to see them get to bounce off each other one last time. Perhaps the only sadness is that this isn’t really Bill. While Testimony makes the continued assentation that with all of Bill’s memories their duplicate is Bill, we the audience know that Bill is still alive and travelling the universe with Heather. So, the Doctor’s moral problem of “is this Bill or not” has a definitive answer – it’s not. But it kind of is, but it really isn’t.


Mark Gatiss shines in the guest role of Captain Lethbridge-Stewart, the Grandfather of Brigadier Lethbridge-Stewart. Gatiss does a fine job, delivering an excellent performance with rather limited screen time. As opposed to his previous three roles on Doctor Who, Gatiss delivers a more restrained performance here that manages to lend the character a sense of dignity and elegance that might not have worked with another actor. Gatiss showcases his great range as an actor and why he’s a treasured Doctor Who talent both in front of and behind the camera.

Twice Upon a Time is marvellously directed by Rachel Talalay, her seventh episode on the show. Talalay is an excellent director for Who, her style instantly at home with the show. Talalay manages to bring the Twelfth Doctor’s final hour to life with some truly beautiful shots and editing. If Chris Chibnall does not invite Talalay back to direct in the future, then he’s missed a trick.


With rumours circulating about his departure, it seems fitting that the score for this episode would be a “best of” of Murray Gold’s twelve years on the show with Twice Upon a Time’s score revisiting some of Murray’s most iconic themes such as Doomsday, I am the Doctor, A Good Man, The Doctor’s Theme, Clara’s Theme and of course, the regeneration music being a reprise of the epic Breaking the Wall from Heaven Sent. If the rumours about Gold’s departure are true (his not introducing a theme for the 13th Doctor in the closing moments and instead reusing old music seems to indicate so), he will be a treasured talent from Doctor Who which will be sorely missed.

And as for this being Steven Moffat’s final script on the show, it certainly wasn’t his best. And that’s fine. It was fun, it was witty, it hit all the right beats and I enjoyed it. Moffat had clearly intended The Doctor Falls to be his final episode on the show and, as an extended epilogue to that story, it works. It flows beautifully from that story and ends the Twelfth Doctor’s story on an uplifting note rather than a downbeat one, giving Twelve one last victory before his regeneration – even if it was just something as simple as saving one man’s life. As mentioned before, the regeneration itself was beautifully written. Almost written as a set of instructions of Chibnall’s take on the show, the speech was the Doctor asserting what sort of character the Doctor should always be; never cruel, never cowardly, never hateful and always full of love and kindness. While this may not be the final episode Moffat intended, it was a good one. As a goodbye from Moffat, it is as Danny Pink described his and Clara’s last goodbye in Last Christmas; “This is bonus. This is extra.” And extra Steven Moffat is never anything to turn your nose up at.

But enough about the old. What about the new? Well in her first moments on screen, Jodie Whittaker was filled with joy and wonder and breathed new life into those closing seconds. While we have a long wait until we can form a proper opinion, I am loving what I’m seeing of Jodie’s Doctor so far and I cannot wait for her to kick things off properly come Autumn.


Twice Upon a Time may not have been the best Christmas special, but it was certainly one of the most magical. Sharply written, brilliantly directed, masterfully scored and beautifully acted; Twice Upon a Time was as fond a farewell to both Peter Capaldi and Steven Moffat than you could ask for. As an epilogue to the Steven Moffat era, it was perfect. As the running theme in Moffat’s Christmas specials goes; Every Christmas is last Christmas. But that doesn’t mean it can’t be happy.






“Justice League” Review

img01Directed by: Zack Snyder
Starring: Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Ciarán Hinds
Plot: After his heroic sacrifice, the world mourns the loss of Superman (Cavill). Crime begins to run rampant as mysterious monsters prey on the fearful. Knowing an attack of epic proportions is coming, Batman (Affleck) and Wonder Woman (Gadot) gather a team of super-powered individuals to combat the coming threat. The threat comes in the form of Steppenwolf (Hinds), an all-powerful being from another world. As Steppenwolf searches for powerful artefacts that will allow him to end the world, Batman fears that his new team might not be enough to save it. They need help, but more importantly, they need hope.


Note: Mild spoilers follow in this review; but one of them was so obvious that I don’t think it even qualifies as a spoiler

It takes a special kind of talent (or lack of talent) to mess up a film that should be so easy to get right like Justice League. But yet, the team at DC managed to do just that.

Justice League is not a good film. That much is easy to explain. Despite starting incredibly well with an opening title sequence set to Sigrid’s Everybody Knows showing how the world has changed in the wake of Superman’s death, Justice League drops the ball incredibly quickly. The film starts incredibly rough, with the film jumping from scene to scene without any real rhyme, reason or sense of continuity. Scenes feel cut short, never feeling like they actually end. It feels like there’s someone with a stopwatch standing just off camera shouting “Too long! Next scene!” at different intervals. The film rushes to its next “big” moment with little thought for character or story. At first, I thought this was just going to be a rough opening half hour and the film would find its stride, but this was not to be. This is how the film is from beginning to end. I can’t recall ever seeing a film that was ever this desperate to reach its own credits as quickly as this one.


While many may blame this on the studio mandated two hour running time, the problem can in fact be traced back to Zack Snyder’s own storytelling style. Snyder has always prioritised “moments” over storytelling and character. Justice League is then the ultimate version of this approach to filmmaking. The film is so concerned with reaching the next moment, that the story and characters get left behind. This problem was present in Sucker Punch, Legend of the Guardians, Man of Steel and Batman v Superman and it’s also present here. Ultimately all of the problems with Justice League can be traced back to this approach Zack Snyder takes to filmmaking.

A major casualty of this is the film’s villain; Steppenwolf (Hinds). Perhaps the worst comic book movie villain seen in a while, Steppenwolf is poorly written and poorly presented. Not least because Steppenwolf is a purely CGI creation who doesn’t blend very well with the live-action elements. Steppenwolf barely has any screen time yet we are supposed to accept he’s the most dangerous threat the DC Universe has ever seen. DC Films have had a problem with their antagonists so far and Steppenwolf is the worst of the bunch. Yes, even worse than Suicide Squad’s poor excuse of a villain in Enchantress. Hinds tries his best in a purely voice role (with some facial motion capture) but it never quite comes together. Steppenwolf’s dialogue is mostly generic dialogue we’ve heard every clichéd supervillain spout before. While Ares from Wonder Woman was also guilty of the same, he had the benefit of a rather excellent performance from David Thewlis who shared excellent chemistry on screen with Gal Gadot when threatening her. When a similar scene occurs in Justice League, there’s no sense of menace or threat. It’s hard to feel threatened when what looks like a reject from a Lord of the Rings video game spouts such plainly clichéd dialogue. Moments where Steppenwolf should be a threat fall painfully flat such as a scene when Steppenwolf growls at Wonder Woman, “You have the blood of the Old Gods in you! The Old Gods died!”. There’s no sense of threat or menace during this moment. When we’ve already been treated to some great villains in comic book movies this year such as Kurt Russell as Ego in Guardians of the Galaxy, Vol. 2, Michael Keaton as the Vulture in Spider-Man: Homecoming and Hela in Thor: Ragnarok, there’s no excuse for delivering a villain as clichéd and unmemorable as this.


Moving onto our heroes, more problems begin to emerge.

Ben Affleck seems utterly bored and looks like he’d rather be anywhere else and doing anything else. As Batman is meant to be our protagonist, this is a big problem. With rumours circulating throughout the year that Affleck was on the verge of quitting the DCEU, his performance here leads credence to those rumours. Has Affleck grown bored of playing the Caped Crusader after just one film? Did the negative reception to Batman v Superman burn him out that badly? Regardless, Affleck’s almost entirely disinterested performance does not lend the film any favours. How are we supposed to care about a Batman who is played by an actor that doesn’t seem to care?

On the other end of the scale however is Henry Cavill as Superman. While his role in this film is relatively brief for obvious reasons, Cavill is finally allowed to smile and embrace the charm and wonder of the character for the first time in the franchise. Superman finally feels like Superman. So, it’s baffling that the character is barely in the film. It quickly becomes clear that Superman’s death in Batman v Superman was not meant to fulfil any specific role in the story and was instead simply orchestrated for the shock value of killing the iconic character (another one of Snyder’s “moments”). If Cavill had been allowed to portray the character in this way from the very beginning, we’d be looking at a very different, and likely much better, Justice League. Instead one of its best aspects, a proper Superman at last, becomes a strike against it. Simply because he’s not utilised as much as he should be.


Gal Gadot’s Wonder Woman is once again the shining star. Gadot was clearly born to play the part and utterly smashes it for a third time. It’s a shame Gadot is caught up in such a disappointing film. Hopefully Wonder Woman 2’s 2019 release date won’t feel too far away.

As for the rest of the League, herein lies the rub. None of them ae given enough time to properly develop. Ezra Miller’s Flash is just a wisecrack machine. Jason Momoa’s Aquaman is presented as a typical “Surfer bro” who is just angry at everyone all the time while Ray Fisher’s Cyborg is about as interesting as watching paint dry. None of this is a fault of the actors. They all do a fine job with what they have. All of this can be traced back to the editing and writing of the film. In an ideal world, the movie would slow down and let us get to know these characters just a little bit more rather than the briefest of development they are given. This may ultimately have been the problem with rushing the DCEU; by not giving any of these characters their own movies, we don’t have reason to care and a crossover ensemble movie with at least eleven principal characters just isn’t the place to introduce and develop new characters. Or at least in a movie that runs towards its climax faster than the Flash himself.


The action meanwhile struggles to be entertaining. This is nothing to do with how the movie is shot, as Snyder certainly knows how to frame a scene. But while the cinematography looks fine, its ultimately all for naught as it all manages to be incredibly bland and uninteresting to watch. Snyder, again, prioritises moments within these action sequences but forgets to make the action itself interesting. As the heroes run around fighting Steppenwolf’s armies in a big kerfuffle of CGI, the one thought that kept running through my mind was “this action scene should not be this uninteresting”. But that’s ultimately what extends to all the action in the film. It’s bland. It’s slathered in CGI. And it’s ultimately incredibly dull to watch.

The sound in the movie is also worth criticising. Sound effects are mixed too loudly, making action scenes not just difficult on the eyes but on the ears as well. Sound mixing is all over the place; dialogue is at times hard to hear and big triumphant moments in the score are lost in the mix. The hyped return of Danny Elfman’s Batman theme for instance is almost lost as explosions and booms bury the score in the mix, making a heroic moment for Batman lose its impact.


As for the story, the comparisons to the plot of Avengers Assemble are hard to miss; a villain from another world searches the Earth for a cube shaped McGuffin to unleash his army and destroy the world if a team of superheroes can’t stop him. Narratively, the film tries to hit the exact same beats; the first act assembling the team while the villain goes around collecting items necessary for their plan then a second act sees the heroes divided on a key issue before they all come together for an epic battle. But the film doesn’t seem to quite land them in the same way. It’s as if Snyder and writer Chris Terrio didn’t quite understand the magic that made Avengers Assemble work, eventually bringing on Avengers writer/director Joss Whedon to write new scenes (and eventually direct the reshoots in Zack’s absence) to do it for them… and failing. Narratively the film is a mess. There’s no emotional connection to events that occur, several key story elements are left unexplained, the heroes act like complete idiots when the plot demands they must do and so on. Justice League is the type of film where a convenience is created to move the story along to the next beat, instead of letting the story flow and develop naturally. There are many moments in the film where something narratively convenient will happen to advance the so-called plot. A moment in the second act where the heroes leave a key item abandoned in a car park where Steppenwolf can conveniently steal it left me scratching my head in confusion. When Batman, the World’s Greatest Detective, is part of the team, these types of heroic blunders are inexcusable.


Justice League is a mess; a collection of Zack Snyder moments strung together by a paper-thin plot and incredibly poor character work as well as perhaps the worst villain ever seen in a major superhero film. If more films like this are on the cards, then DC need to seriously rethink their superhero universe. There’s a moment in the film where Batman quips that his working as part of a team “may be temporary”, and honestly, I feel that might be for the best. It takes a special kind of incompetence to make a bad Justice League movie and it’s here in spades. Justice League is not the superhero crossover we need, nor the one we deserve. It’s sort of like that person you’ll always give another chance to impress you, but instantly regret as they only find new, bigger ways of disappointing you.



“Thor: Ragnarok” Review

Directed by: Takia Waititi
Starring: Chris Hemsworth, Tom Hiddleston, Tessa Thompson, Cate Blanchett, Mark Ruffalo, Jeff Goldblum, Karl Urban, Benedict Cumberbatch, Anthony Hopkins
Plot: Imprisoned, the almighty Thor (Hemsworth) finds himself in a lethal gladiatorial contest against the Hulk (Ruffalo), his former ally. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilisation. 

mv5bmty1nda1mjc3mf5bml5banbnxkftztgwntexmjgwndi-_v1_sx1777_cr001777744_al_The Marvel Cinematic Universe has had a big year. After two massive successes with Guardians of the Galaxy, Vol. 2 and Spider-Man: Homecoming, the franchise surely couldn’t hit a home run and have three great films in one year? Yet that’s exactly what it did. Thor: Ragnarok is big, bold and thrilling, emerging as one of the franchise’s best.

For the third Thor film, Marvel could have played things incredibly safe with a fairly atypical superhero entry. Yet, they went for the risky choice. Hiring Taika Waititi, known more for quirky comedies than action movies, was a risk that paid off. For Thor: Ragnarok is not just the best Thor film, but one of the best in the Marvel Universe. The film takes a drastic tone change for the franchise, opting for a big action-packed space comedy rather than fantasy. And yet, this stylistic change works. From an opening sequence where Thor fights the forces of Surtur to the tune of Led Zeppelin’s Immigrant Song, things instantly feel fresh and unique. If Marvel has been trying to refine their “formula”, then Thor: Ragnarok is the ultimate refinement. There’s little that doesn’t work within the film.

Much of this is due to director Taika Waititi. Waititi brings his own unique style to the film, giving it a unique style and flavour not found within other superhero films. The quirky comedy and the embracing of the inherent silliness of the entire thing was perhaps the best decision that could have been made in regard to this film. Waititi gets that watching a guy in long hair wave around a magic hammer is, ultimately, a very silly idea, so he has fun with it. And this leads to some of the best comedy ever seen within the Marvel Universe.


But yet this added comedy does not stop the film from having an impact. In fact, this comedic tone helps the darker and more emotional beats of the film hit even harder than usual. In fact, it’s just surprising exactly how much this film is able to get away with. People have been crying out for superhero movies to have more consequences and they don’t get much bigger than this. The emotional beats hit harder than they ever have before. In fact, in terms of emotional impact, some of the moments here have greater impact than Captain America: Civil War.

All of this is helped along by an absolutely stellar cast. Chris Hemsworth has shown before that he has strong comedic chops both in the MCU and out of it and here he gets to run wild with them. Out of Hemsworth’s five appearances in the Marvel Universe so far, this is by far his best. Much like the film itself, Hemsworth shines with the comedy but really excels with the emotional beats. Hemsworth’s Thor manages to really come into his own here.

Likewise, Tom Hiddleston shines as Loki once again being a scene stealer. Hiddleston has always been a fan favourite and here he absolutely proves his worth yet again, giving Loki a depth and dimensionality that most other characters in superhero films lack. Hiddleston also provides some of the film’s most memorable comedic beats showcasing brilliant comedic timing.

Mark Ruffalo is also excellent as Bruce Banner/Hulk. Hulk is at his most complex here, with Ruffalo and producer Kevin Feige explaining this film is the first of three telling a new story for the Hulk (with the other two being the two upcoming Avengers sequels) and this works across well. While Hulk’s character arc is not resolved within this film, it doesn’t need to be. Seeing Banner awaken from two years of being the Hulk and worrying that transforming into the Hulk again will be a permanent transformation leads to some excellent character moments with Banner. Ruffalo handles these moments excellently as well as delivering some hilarious dialogue. Ruffalo’s Hulk is also on fine form with the character being able to speak properly now leading to some excellent moments. Hulk is also the source of some of the film’s best humour with one hilarious moment being an unexpected call-back to Avengers: Age of Ultron.


But the real dazzlers of the cast are the new additions. Tessa Thompson is fantastic as Valkyrie; a drunk, washed up Asgardian warrior in self-imposed exile. Thompson manages to instantly fit in with the group of Hemsworth, Hiddleston and Ruffalo and carves out a place of her own within the film. Thompson’s Valkyrie is one of the highlights of the film in humour, action and character with Valkyrie having one of the more defined character arcs in the film. Thompson is a blast on screen and I hope she sticks around for future Thor sequels as she’s quickly become an essential part of the series, being a more than adequate replacement for Natalie Portman; who did not return for this film.

Jeff Goldblum meanwhile manages to steal every scene he’s in as the Grandmaster. Goldblum is clearly having a lot of fun with the role and it quickly becomes very infectious with the film brightening up every time he’s on screen. He is certainly one of the more unusual Marvel villains but is certainly one of the most memorable and one I certainly hope to see return in future films.


And then we have Cate Blanchett as Hela. Blanchett does a fantastic job with what she’s given, managing to make Hela an effective and memorable antagonist. The only problem is that Blanchett is not given enough time to really play with the character. The decision to have most of the middle act set away from Asgard creates the problem of Hela being sat around doing nothing for much of this time. Indeed, the film has to create a narrative convenience just to delay Hela’s plans until the third act, with a key item needed for her plot conveniently going missing at the end of the first act. But despite this, Hela still manages to make an impact. An early scene of Hela invading Asgard and being able to take out its warriors all by herself is a thrilling scene to watch and Blanchett is clearly having a blast in the role. It’s just a shame she doesn’t have enough screen time to truly become an iconic villain.

The film is helped along by some truly stunning visuals. If an award was made for the most visually stunning superhero film, Thor: Ragnarok would win it. A true visual feast for the eyes with amazing CGI and excellent cinematography and art direction. The film also benefits from a fantastic score by Mark Mothersbaugh, which even manages to revisit Patrick Doyle’s brilliant theme from the first film.


To summarise; Thor: Ragnarok is not just a fantastic entry in the Marvel Universe, it’s also perhaps one of the strongest superhero films in recent years and one of the best blockbusters of the year. Marvel have struck gold and delivered the biggest, best and most thrilling Thor film yet. “What are you the god of again?” Hela asks Thor during a key moment. The God of all superhero movies would be a suitable answer.


“IT” Review


“Time to float!”. Pennywise (Bill Skarsgård) prepares to lunge. Copyright: Warner Bros. Pictures.

Directed by: Andy Muschietti
Starring: Bill Skarsgård, Jaeden Lieberher, Sophia Lillis, Jeremy Ray Taylor, Finn Wolfhard, Wyatt Oleff, Chosen Jacobs, Jack Dylan Grazer, Nicholas Hamilton, Jackson Robert Scott
Plot: When children begin to disappear in the town of Derry, Maine, a group of young kids are faced with their biggest fears when they square off against an evil clown named Pennywise (Skarsgård), whose history of murder and violence dates back for centuries. 

IT is the film adaptation of author Stephen King’s 1,138 page 1986 novel, helmed by Andy Muschietti, director of 2013’s Mama. IT had already been adapted to great success in a two-part 1990 miniseries starring Tim Curry in the title role. While the miniseries itself doesn’t hold up and is spotty in quality at best (with Curry being the miniseries’ only redeeming feature), it holds a fond place in the hearts of those who grew up watching it giving Muschietti’s new take on the story big shoes to fill.

Instead of condensing King’s lengthy tome to one movie, IT (titled as IT: Chapter One in the movie itself) decides to only focus on the segments of the story portraying the Loser’s Club’s encounters with IT as children, with the adult segment of the story being saved for the sequel due in 2019 (however Muschietti has made it clear he intends to release a four to five hour director’s cut merging both films into one). This works in the film’s favour. Not only is the childhood segment the strongest part of the original novel, it allows the film to remain more focused instead of jumping around between multiple time periods.


Georgie (Jackson Robert Scott) encounters “IT”, otherwise known as Pennywise the Dancing Clown. Copyright: Warner Bros. Pictures.

The film also brings the events of the story forward from 1958 to 1988. While this allows IT: Chapter Two to be set in the present, it also manages to serve the movie brilliantly. By having the movie set in the late 80’s, it manages to make the movie a love letter to Hollywood around that time; with the film ending up as a wonderful mix of The Goonies, Poltergeist and A Nightmare on Elm Street. In effect, IT becomes a genre throwback to the coming of age adventure movie and the supernatural horror movie. And it’s a mix that works. Muschietti manages to blend the two genres deftly and manages to create a truly unique horror picture with the end result; an excellent coming of age picture that just so happens to also be a film about a child-eating monster disguised as a clown.

IT strikes gold however with its cast. The seven children who make up the Loser’s Club are all wonderful young actors who will have a long future ahead of them is they chose to stay in the business. Each of them delivers a fantastic performance. The standout of the group however is Sophia Lillis as Beverly. Lillis, looking eerily like a young Jessica Chastain (potential casting for IT: Chapter Two maybe?), delivers perhaps the most rounded and strongest performance of the film. Beverly is perhaps the character that faces the most emotional strife during the film (apart from Bill). With an emotionally abusive (and implied to be sexually abusive) father at home, along with vicious rumours being spread about her by girls from school, Beverly has a lot to deal with without Pennywise coming into play. Lillis manages to make Beverly a truly engaging character, managing to make Beverly the most sympathetic and identifiable member of the Losers. Lillis’s performance shows she has great talent and will have a long and promising career ahead of her.


Beverly (Sophia Lillis) hides from her tormentors. Copyright: Warner Bros. Pictures. 

Also a young actor of note is Jaeden Lieberher as Bill. As with Lillis with Beverly, Lieberher has the more meaty material to work with out of the other kids. Bill spends most of the movie searching for his younger brother, Georgie (kidnapped by Pennywise in the movie’s opening scene) and being in denial of the fact it’s incredibly likely Georgie is already dead. Lieberher deals with this material incredibly well, showing a lot of talent. It’s not easy to carry a film at 14, but Lieberher handles it with ease, showcasing himself to be an actor of talent.


Bill (Jaeden Lieberher) hunts for the missing Georgie. Copyright: Warner Bros. Pictures. 

The rest of the Loser’s Club are made up of fine young actors, even if none of them quite get the amount of material and range that Lillis and Lieberher get. All of them deliver great performances and manage to round out the supporting cast incredibly well. Of particular note is Finn Wolfhard of Stranger Things fame who plays Richie. Wolfhard shows fantastic comedic timing and delivers most of the best lines in the film, with nearly all of them being incredibly hilarious. As for the rest of the group, everyone gets at least a few moments to shine with only Chosen Jacobs getting the short straw as Mike. After a few scenes near the start, Mike is absent until near the end of the second act which makes it difficult for Mike to make much of an impression, enough to make you wonder if several scenes with Mike were left on the cutting room floor. But despite this all of the kids do a fantastic job and you can’t help but wish there was a bit more time spent with them; perhaps this could be incentive for Warner Bros to invest in an extended cut of Chapter One, prior to the merged cut?


The Loser’s Club. From left to right: Eddie (Jack Dylan Grazer), Bill, Mike (Chosen Jacobs), Stan (Wyatt Oleff), Beverly, Ben (Jeremy Ray Taylor) and Richie (Finn Wolfhard). Copyright: Warner Bros. Pictures.

But of course, the reason everyone wants to see this movie is for IT itself; Pennywise. Bill Skarsgård takes the role of the murderous clown and manages to do an excellent job. Skarsgård’s Pennywise is a completely different beast to Tim Curry’s. Portraying the character as more ravenous, more beastly (Pennywise even drools hungrily when talking with Georgie) and ultimately feels more inhuman. Skarsgård doesn’t feel like a man dressed as a clown, he feels like an inhuman monster which is perfect for an interdimensional shape shifter (however IT’s origins are only implied in this movie, presumably being saved for the sequel). There’s just something eerily off-putting about Pennywise and Skarsgård’s movements and performance help create a horror villain that is truly unsettling. A moment where Pennywise uncurls himself from inside a fridge is truly disturbing to watch, especially since only minimal CGI was used meaning that most of it is actually Skarsgård. Pennywise isn’t just creepy though, he also has some humour to him which makes him even more unsettling. I’d rather not describe Pennywise’s sense of humour, if only to preserve some of the film’s more surprising and unsettling moments, but safe to say it’s as twisted as the character itself. Skarsgård is truly unhinged in the role, with this being one of those rare villain performances where the actor is completely unrecognisable. If Skarsgård’s Pennywise is better than Tim Curry’s is down to personal taste. In my opinion, Skarsgård’s is superior due to being more unsettling and closer to Pennywise as he was in the original novel along with a truly unhinged performance by Skarsgård but Curry’s Pennywise was also great. It ultimately depends on what you expect from the character, but for my tastes, Skarsgård’s won out and I can’t wait to see more of him.

It_08312016_Day 46_11374.dng

Pennywise on the prowl. Copyright: Warner Bros. Pictures.

IT is an absolutely gorgeous film to watch. Muschietti clearly has a wonderful directorial eye and it’s showcased magnificently here. The film just comes alive on the screen. From beautiful shots of the town of Derry, to dark and enveloping sewer tunnels, the film has a great vision and look. Muschietti really knows how to direct a horror film. Sets come alive with his directing, Pennywise’s presence envelops the film even when he isn’t present. From darkness and shadows giving the impression he could be anywhere along with the general feeling that something is watching and waiting. Indeed, the only times this feeling isn’t there are when the Losers are together and having fun, but even then there’s a hint of menace; as the kids play in a river, you’re just waiting for something to reach up and grab them. It’s also remarkable how unsettling even the people who aren’t Pennywise feel, with authority figures all feeling unnatural or, to some, worse than Pennywise. It’s this, along with the directing, that aid an air of dread to the entire film; making us really feel that there’s no one these kids can turn to.

What should be mentioned is how surprisingly funny the film is. While the film isn’t exactly a comedy, there’s plenty of humour scattered throughout. But none of it ever feels unnatural, in fact it goes hand in hand with the scares. It really manages to capture the spirit of King’s novel.


“You’ll float too.” Pennywise stalks his next victim. Copyright: Warner Bros. Pictures.

But what’s a horror film without its scares? Well I’m glad to report that IT is incredibly scary. Muschietti manages to deliver the scares in a big way, using a mixture of traditional jump scares with more unique moments; playing with audiences expectations as well as managing not to overuse Pennywise, only using him when it’s called for. An excellent touch is how Muschietti drags out the tension; you know the scare is coming, but you’re not quite sure when, or what, is actually going to occur. As a balloon slowly drifts towards one soon to be victim of Pennywise, you’re on edge, waiting. The film’s opening, which shows Pennywise luring in and making off with Georgie, is incredibly disturbing to watch. We the audience know what Pennywise is going to do. What makes this scene so impactful is how he does it and indeed, how much the film is actually able to do in this sequence. It’s impactful, shocking, scary and memorable and really sets the tone for the entire film. But the film’s scariest moment has to come from the projector scene. As the Losers examine slides of old Derry maps, the projector gets a life of its own and images of Pennywise begin to appear. What follows is an incredibly tense sequence of waiting as the film plays with your expectations as what you expect to occur doesn’t quite occur in the way you expect, leading to the film’s most terrifying moment.  That said however, a few too many of the film’s jump scares seem to rely on Pennywise running at the camera and screaming which can get old after a while. Regardless though, IT is a terrifyingly scary experience.


Pennywise lurks in the darkness. Copyright: Warner Bros. Pictures.

Another are where IT excels is its score. Benjamin Wallfisch takes scoring duties here and does a magnificent job. Alongside the more traditional Insidious-esque score for the scary parts, Wallfisch delivers an almost John Williams style score for some parts of the score. This is also blended with perhaps the creepiest version of “Oranges and Lemons” you’ll ever hear, serving as Pennywise’s theme. All together this creates an excellent soundtrack, emerging as one of the more memorable in the horror genre in quite a while. With many identifiable themes at play, I hope Wallfisch is able to return for the sequel to further develop them.


Pennywise advances on the Losers. Copyright: Warner Bros. Pictures.

IT is a stellar adaptation of Stephen King’s novel, Muschietti has managed to craft a stellar horror film that manages to be true to the spirit of King’s text while putting his own identifiable spin on it. Bolstered by excellent performances from its child cast and an utterly unhinged performance by Bill Skarsgård along with fantastic visuals, some truly chilling scares and some surprisingly hilarious humour; IT is a must see horror film that emerges as not just the best horror of 2017, but perhaps the best horror film in years. Utterly terrifying, this film needs to be seen.


Game of Thrones S07E07 “The Dragon and the Wolf” Review




Daenerys (Emilia Clarke) confronts Jon (Kit Harington) over his rash decision. Copyright: HBO.

Game of Thrones concludes its seventh and penultimate season with an absolute beast of a season finale that leaves us a lot to unpack.

The main plot thread of this episode was the parlay between Jon, Daenerys and Cersei (with their respective allies and advisors gathered around). The main goal of this parlay, was Jon and Daenerys hoping to convince Cersei to agree to a ceasefire; allowing Jon and Daenerys to deal with the White Walker threat without worrying about Cersei and her army. This parlay was one of the best parts of the episode, simply because it was the first time most of the show’s cast have been in the same scene together. Not only is it the first time Daenerys has shared a scene with Cersei, Qyburn, Brienne, Euron etc. but it’s the first time Jon has been in the same scene as Cersei and Jaime since the pilot episode.

It’s hard to describe exactly how tense this scene was to begin with. Cersei not showing up at first made me slightly worried that it was another trap similar to when Cersei blew up the Sept back in Season 6. Thankfully this was not the case and we were treated to some wonderful interactions between the show’s entire main cast – bar the crew at Winterfell and the Wall.

Cersei and Daenerys not so subtly giving each other the stink eye, Cersei giving Brienne the stink eye, Cersei giving pretty much everyone the stink eye, all of it was glorious. What made this work so well however was when Sandor unleashed the Wight. Seeing Cersei absolutely crap her pants was completely worth it. Cersei thankfully did not try to dismiss it all as a trick, and agreed that the White Walkers had to be dealt with. This was a surprising bit of rationality for the character, but it was quickly ended when Cersei refused to continue negotiations when she learned Jon had bent the knee to Daenerys.


Cersei (Lena Heady) schemes to wipe out all her enemies. Copyright: HBO.

This led Tyrion having to brave being alone in a room with the woman who hates his guts and has tried to kill him several times. The show has always thrived when it puts two of its best actors together and alone in the same scene. And this was one of those scenes. Lena Heady and Peter Dinklage were amazing in this scene. What’s interesting is the show’s decision to cut away from this scene, leaving exactly what terms Tyrion and Cersei agreed on a mystery. Whatever it was, it seems that Jon and Daenerys’s romance is going to throw a stone in all of Tyrion’s plans. Did Tyrion try and arrange a marriage between Cersei and Jon? Did Tyrion promise that Cersei’s child would rule after Daenerys, since Tyrion seemed to be urging Daenerys to name an heir in the last episode? Whatever it is, it probably isn’t going to end well.

Cersei and Tyrion then returned to the negotiations and Cersei promised to send her armies north to help fight the White Walkers. But this was all a ploy, as Cersei later revealed to Jaime that she had no intention of doing so. She instead planned for the White Walkers and Daenerys/Jon to wipe each other out, so Cersei can then mop up what’s left with the Golden Company. Jaime was horrified, pointing out the massive flaw in her plan; that the winner of the battle in the North will march south and kill them and they will be unstoppable. Cersei was set in her madness however and this led to Jaime to finalise his path to redemption; by abandoning Cersei for good. It seems the popular fan theory that Jaime will be the Valonquar (the little brother prophesised to kill Cersei in the books) is looking more true. And, in a turning point, as Jaime headed north to Winterfell, snow began to fall and cover King’s Landing. Winter has finally come.


Petyr Baelish AKA “Littlefinger” (Aidan Gillen) schemes his last. Copyright: HBO.

Meanwhile in Winterfell, Littlefinger continued his ploy to turn Sansa and Arya against each other by telling Sansa to imagine Arya’s worst motives for doing the things she’s done. Sansa seemed to be buying Littlefinger’s logic and called Arya to the great hall, seemingly putting her on trial. Sansa however then revealed that she’d seen through Littlefinger’s scheme and had put him on trial instead. Aidan Gillen has always been a talented member of the cast and he acted his ass off here showing Littlefinger as he truly is; a coward determined to save his own skin above all. Littlefinger was never going to last much longer, so for him to go out by vastly underestimating how much control he had was a fitting way for the character to go. And his death managed to bring Arya and Sansa closer together, so it was a win-win. It was also nice to see Sansa putting Bran’s skills to use at last.

Speaking of Bran, he and Sam managed to drop the (second) biggest shock of the episode; that Jon Snow is not Jon Snow. Bran and Sam, combining their knowledge, learned that Rhaegar Targaryen and Lyanna Stark were married in secret and Jon Snow is not Rhaegar’s bastard but his trueborn son; Aegon Targaryen and the true heir to the Iron Throne. This throws a spanner in the works certainly, if Jon is the heir to the throne, how does this leave him and Daenerys? Will the two marry and rule together? Or will the knowledge they’re related change everything?

And of course, this episode saw the culmination of this season’s biggest budding relationship. That’s right, Jon Snow (or Aegon?) and Daenerys finally got together. The two have been slowly falling in love across the entire season and to end the season on them finally consummating that love made a lot of sense. But this romance has a lot of potential to cause trouble over the final season so it will be interesting to see it develop. I oddly find myself rooting for the two to stay together, perhaps because the two have excellent chemistry and also because the two have endured so much that I want them to have a bit of happiness.


Jaime (Nikolaj Coster-Waldau) grows concerned over his sister’s growing madness. Copyright HBO. 

Director Jeremy Podewsa did a fantastic job on this episode, with The Dragon and the Wolf being perhaps one of the best directed episodes of the season. Ramin Djawadi however is the true standout of this episode, doing a fantastic job with the score. Tracks like Truth, No One Walks Away From Me/Winter Is Here and Army of the Dead were fantastic and are still stuck in my head. Djawadi has always been a major part of the show and he was just as good here with the themes of Jon, Daenerys, Cersei and the White Walkers all getting new variations and improvements; with No One Walks Away From Me, playing as Jaime abandons Cersei, mixing both Cersei’s “mad queen” theme and the Lannister theme while Army of the Dead, played in the final scene, mixing all variations of the White Walker theme into one glorious suite.

And speaking of that final scene – wow. All I can say. Wow. We’ve been waiting seven seasons for the White Walkers to reach the Wall, and they did so with style. Riding on the back of the undead Viserion, the Night King destroyed Eastwatch and burst a massive breach in the Wall large enough for his army to cross. It was horrifying and strangely beautiful, featuring some of the best special effects work the show has ever seen. With the White Walkers crossing into Westeros, it’s certainly the sign that the story has reached its end. Now literally anything happen.


Astride the undead Viserion, the Night King (Vladimir Furdik) destroys the Wall. Copyright HBO.

The Dragon and the Wolf perhaps emerged as one of the show’s best season finales. I was gripped throughout and was an absolute magnificent close to an amazing season. With only six episodes left, I can only hope the show can keep to this high standard for the rest of its run. 


“Annabelle: Creation” Review


Linda (Lulu Wilson) clutches onto the demonic doll Annabelle. Copyright: Warner Bros. 

Directed by: David F. Sandberg
Starring: Stephanie Sigman, Talitha Bateman, Lulu Wilson, Anthony LaPaglia, Miranda Otto
Plot: Twelve years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.

The Conjuring Universe continues to grow, with its latest entry; Annabelle: Creation. The prequel to 2014’s Annabelle, Annabelle: Creation provides another take on the origins of the malevolent doll; this time with Lights Out director David F. Sandberg at the helm, taking over from John R. Leonetti.

Annabelle: Creation suffers in the story department from having to work around established mythology. The revelation in 2014’s Annabelle that the doll itself is not possessed but is in fact just a conduit for a demon has to be stuck with. This leads to the movie’s second half not being as strong story wise as it’s first, due to the film having to move elements around in order to have things in place for the first film. Perhaps this is the problem that the shared universe trend will continue to suffer from; it makes it incredibly difficult to make good standalone films. Annabelle: Creation suffers from it’s attachment to the previous film. Perhaps it would have been easier for WB to drop the first Annabelle from the continuity? But for the most part, the plot is fairly well done. There’s not much that hasn’t been seen or done before in other horror films but the film handles these elements well and tells a finely crafted tale for the most part, apart from the afore-mentioned issues. Either way, it means Annabelle: Creation struggles to wrap up it’s excellent plot for the sake of setting up the original film.


Sister Charlotte (Stephanie Sigman) and the girls look on in horror as terrifying events unfold. Copyright: Warner Bros. 

Another problem with the film is that, due to the afore-mentioned tying in of elements from the first film, it means the film can’t really focus on what it does well. The demon that uses the doll is terrifying and manages to deliver some truly scary moments. An early moment where Janice attempts to escape it, only for the demon to slowly advance on her by seemingly devouring all the light around her and leaving her in complete darkness. This aspect of the creature is fantastic and is used to great effect in multiple sequences. But however, this leaves the doll itself to be somewhat sidelined. While this makes sense as the doll itself is not cursed, it’s a bit disappointing for it to be fairly unused after some effective early sequences.

Annabelle: Creation has a fairly decent cast. Most of the film falls on the shoulders of Talitha Bateman as Janice who does an excellent job. Carrying a film mostly on your own and Bateman does a fantastic job of it. She manages to brilliantly portray a terrified yoing girl who has no way of escape. In the latter half of the film however, Bateman takes more of a backseat and this is where the film struggles. There’s no clearly defined protagonist for the film to follow after this. Stephanie Sigman does a good job as Sister Charlotte, but is likewise taken out of action early in the film’s third act meaning she struggles to be a protagonist the audience can root for. Lulu Wilson then is left to carry the film in the last third but again, she spends it mostly off screen leaving it difficult for audiences to connect with her. This isn’t a fault of the ability of the actors, but more a fault of the editing during the climax.


Janice (Talitha Bateman) and Linda encounter things that go bump in the night. Copyright: Warner Bros. 

The supporting cast meanwhile do fine jobs. Anthony LaPaglia does a fine job as Mr Mullins; perfectly capturing the tragedy of the character and being an incredibly likeable presence on screen. Miranda Otto as Mrs Mullins makes a great impression and manages to make the most of the incredibly limited screen time that the film gives her. Both of these actors manage to create incredibly complex characters and I couldn’t help but feel that I wanted to see more of them than of the other characters.

The scares meanwhile are delivered brilliantly. Sandberg proved himself a master of horror with Lights Out, especially when it comes to playing with darkness. Sandberg manages to do the impossible and makes the audience scared of the dark once again. As the demon using Annabelle as a conduit loves the dark, it leaves a lot to the imagination as shadows can be hiding anything. With some scenes showing the demon emerging from pure darkness, it creates a lot of paranoia in any scene set at night. This is where the film works the best, be it Janice being slowly surrounded by approaching darkness, Linda firing a ball on a string into pure darkness or another character being trapped in a barn as the demon slowly turns out all the lights. It seems Sandberg took the best lessons from Lights Out and from the first Annabelle (namely the now infamous basement scene) to create some truly terrifying moments.


Janice is cornered by the Demon. Copyright: Warner Bros.

For this is ultimately where Annabelle: Creation excels. It may have problems in terms of story and characters, but the film really manages to deliver when it comes to the scares which makes the film’s other flaws forgiveable. This is horror. Pure, refined and perfected. It’s very hard to describe just how scary Annabelle: Creation is. It’s something to be experienced for yourself.


Mrs. Mullins (Miranda Otto) attempts to fend off the dark forces in her home. Copyright: Warner Bros. 

While it may not be as strong a film as The Conjuring and its sequel and certainly lacks a strong central protagonist like the first Annabelle, Annabelle: Creation is still another excellent entry in the Conjuring universe. It seems ironic that after Universal’s failed attempt at forcing a horror cinematic universe with The Mummy, that Warner Bros should stumble on one entirely by accident. By creating well-made and scary horror films, Warner Bros has made a horror universe I want to see more of and with a post-credits scene teasing The Nun, a film focused on the demonic nun Valak from The Conjuring 2, it seems plenty more are on the way. Sandberg has crafted a finely made horror film that may fall apart somewhat in character and story, but more than excels in the scares making these stumbles forgivable. Annabelle: Creation is certainly one of the year’s better horror films and is a must see. Just remember to sleep with the lights on afterwards.



Game of Thrones S07E06 “Beyond The Wall” Review


The Night King (Vladimir Furdik) prepares to make his move. Copyright: HBO

Game of Thrones took us Beyond the Wall for perhaps our most in depth, most intense and most frightening encounter with the White Walkers yet in an exciting episode that delivered plenty of action, story and character development.

The main plot thread of this week’s episode was Jon Snow’s brave band of warriors, consisting of Jorah Mormont, Tormund, Beric Dondarrion, Thoros of Myr, Sandor Clegane and Gendry, on a mission to capture a live Wight in order to use it as evidence of the White Walker threat and convince Cersei to lend her aid.

And of course this plan falls to pieces very quickly. This led to a desperate fight for survival for Jon’s team while Gendry ran for help, with these sequences being some of the best of the episode. Sequences with the White Walkers have always been some of the best the show has to offer, possibly because it’s so very different from what the show usually does. Every time the Walkers show up, the characters are always on the back foot, always fighting just to escape. The Walker attack on Hardhome and the Three-Eyed Raven’s cave were excellent sequences and the White Walker attack here emerges as the best of them. They were utterly terrifying, standing and waiting for the ice to freeze so they could swarm Jon and co. I’d go on to say that this was perhaps the most terrifying the White Walkers have ever been, for this episode gave them another few qualities. Not only are they smart; clearly setting a trap for Jon but they’re also incredibly patient. And that’s a worrying quality for an enemy to have. This really sent the message that the Night King is a force to be reckoned with. Not only is he incredibly powerful, but he’s incredibly smart as well.


Jon (Kit Harington) and the group make a desperate escape. Copyright: HBO

And then we move onto the biggest development of this episode. Daenerys arrives on her dragons to save Jon and friends only for the Night King to throw an ice spear and kill one of Daenerys’s Dragons; Viserion. A moment that was surprisingly shocking and emotional, it pulled at the heart strings seeing the Dragon viewers have seen grow up from hatchling to die an incredibly painful death. This act achieved several things. It gave Daenerys her first major defeat on the open field; Daenerys has won every battle she’s fought so far so for her to suffer such a crippling loss is a very humbling moment for the character. This is reflected later in the episode where after Jon bends the knee, Daenerys says “I hope I deserve it”, showing how incredibly humbled Daenerys has become after her loss no longer as sure of herself. The death of Viserion also gave the Night King his biggest advantage yet; a Wight Dragon to add to his army. Exactly what sort of powers a Wight Dragon will possess are currently unknown (will it still be able to breathe fire for instance), but one thing is certain; this tips the balance of the war for the dawn in the Night King’s favour.

One thing the episode did well in this portion was giving all of Jon’s team chances to interact with each other; allowing the audience to grow attached to them a little more especially with characters like Beric and Thoros who haven’t had as much screen time as the others. This made Thoros’s death more touching than it would have been otherwise and set the stage for audiences to fear for the character’s lives. The moment where Tormund was being dragged under the ice by Wights had me certain that the fan-favourite character was doomed. Thankfully Tormund lives to boast another day. A lot of the episode’s humour came from this segment as well, with Sandor’s perfectly timed utterance of “Fuck” upon realising the ice had frozen over making me laugh out loud as well as perfectly mirroring exactly how the audience felt at that moment.


Arya (Maisie Williams) prepares to play “the game of faces”. Copyright: HBO

Back in Winterfell, we saw Littlefinger continue to play Arya and Sansa off each other and the two seemingly playing into his hands. Littlefinger, after allowing Arya to find a letter Sansa wrote to Robb while a hostage of the Lannisters back in Season 1, began to place seeds of doubt in Sansa’s mind; warning her that Brienne is sworn to serve both Stark daughters and could take Arya’s side if she and Sansa were to be at odds. This led Sansa to send Brienne and Podrick away from Winterfell, sending them to represent her interests at the parlay in King’s Landing, in order to remove them from being a possible obstacle in whatever intentions she has for Arya. Arya meanwhile continues to believe that Sansa intends to usurp Jon and become Queen of the North and the letter is proof, in her eyes, that Sansa’s loyalties are always with herself and not with her family; which would be a grave offence for the daughter of a Stark and a Tully – two family oriented houses (House Tully’s words are “Family, Duty, Honour” indicating the order of priorities for the family and Ned Stark once told his children “When the snows fall and the white winds blow, the lone wolf dies but the pack survives” indicating that the family needs to stick together).

This ended in a confrontation between Sansa and Arya, as Sansa discovered Arya’s collection of faces. Arya seemed to threaten Sansa, detailing how easy it would be for her to kill Sansa, take her face and become her. This greatly unnerved Sansa, but it was how Arya ended this conversation that interested me. After advancing on Sansa with the Valyrian dagger, Arya then flipped it around and gave it, handle first, to Sansa before turning her back on her and leaving the room. To me, this indicates something about the two. Was this Arya telling Sansa that she has no intentions of harming her and thus isn’t a threat? A simpler way of telling Sansa this instead of just saying it? “Words are wind” after all, so perhaps doing this is an easier way of making Sansa believe Arya means no harm to her. It could also indicate Arya showing she trusts Sansa for to someone like Arya, who has had several attempts on her life, giving someone a dagger and turning your back to them would require a great deal of trust. Perhaps this is Arya trying to tell Sansa that she trusts her and trusts that she’s doing what’s right?  Could this be an indication that the Stark sisters are going to outplay Littlefinger? That the pack of the Stark family will outlive the lone wolf that is Littlefinger?


Tyrion (Peter Dinklage) advises Daenerys (Emilia Clarke). Copyright: HBO

At Dragonstone, Tyrion confronted Daenerys over her reckless behaviour and her putting off the matter of naming an heir if she were to die. Daenerys was having none of it, arguing her behaviour was justified and that the matter of succession doesn’t matter until she’s queen. Both parties had a point here; while Tyrion was pushing for Daenerys to be more fair and lenient, Daenerys knows that doesn’t work after her time ruling Meereen. She also wasn’t discussing a matter of succession to perhaps not give Tyrion another potential ruler to abandon Daenerys for/organise a coup for. Perhaps Daenerys feels that even though she trusts Tyrion, she doesn’t want to give him a way to abandon her. She could even see this as Tyrion looking for a reason to abandon her, with Tyrion seemingly growing a little disenchanted with Daenerys over the past few episodes. Tyrion did rightfully call out that Jon and Daenerys had fallen in love however, so he may push Daenerys to marry Jon for the political benefits and perhaps also hoping Jon could balance out Daenerys’s more volatile personality traits. Either way, the Daenerys/Tyrion relationship is on rocky ground and is a bomb waiting to go off.

One of the more important developments in this episode however was Jon and Daenerys finally realising they had fallen in love. Daenerys standing vigil over the wounded Jon’s bedside, Jon clinging onto her hand, the long gazes held between them, all of it showed that these two characters have fallen deeply in love. Exactly how this relationship will pan out, especially when it’s revealed the two are related, remains to be seen but the relationship is one I’m rooting for especially as Kit Harington and Emilia Clarke share fantastic chemistry together. While the two have yet to actually come out and say they have fallen in love with the other, they both know it. The entire series seems to be pushing them to get together; the overall name of the franchise is “A Song of Ice and Fire” with Jon being Ice and Daenerys being Fire, Jorah seemed to give his approval for Jon and Daenerys to be together when he returned Longclaw to Jon, Davos and Tyrion have already noted that the two have feelings for each other. I look forward to seeing the two’s relationship developed over the remaining seven episodes.


Daenerys (Emilia Clarke) and Jon (Kit Harington) realise their feelings for each other. Copyright: HBO

Beyond the Wall saw the return of Alan Taylor to the director’s chair of Game of Thrones. The director, who directed six episodes in the show’s first two seasons, moved onto the world of Hollywood blockbusters, directing Thor: The Dark World and Terminator: Genisys. Taylor seemed to bring some of that Hollywood sensibility back with him as Beyond the Wall was a gorgeous episode, filled with wonderful shots and amazing camerawork. Taylor’s expertise with CGI-filled blockbusters likely gave this episode the cinematic feel it needed. Beyond the Wall felt big, it was epic, it was exciting and it was thrilling. Hopefully Taylor returns for the show’s final season.


Beric Dondarrion (Richard Dormer) prepares to fight for the Dawn. Copyright: HBO.

Being almost movie-length at 71 minutes, Beyond the Wall emerged as another fantastic entry in what is shaping up to be Thrones’s strongest season yet. Big character developments, massive plot developments, thrilling and terrifying action sequences all made this episode fantastic viewing. If Beyond the Wall teases what’s in store for when the White Walkers finally make it past the Wall, then that moment can’t come soon enough.