Tag: Netflix

Star Trek Discovery Series 1: Our review of Trek’s new Wagon Train to the Stars

Star Trek Discovery Series 1

Star Trek Discovery Series 1

Jokerside doesn’t often do reviews, but when it does, it’s for something big. When Star Trek returned to its natural small screen home for the first time in 12 years we were there to chart every episode of Discovery‘s first year. You can catch the in-depth reviews over at Jokershorts, but here’s the full season summary and for those rushing to Black Alert!

STAR TREK DISCOVERY SLUNK ONTO SCREENS IN SEPTEMBER 2017, BEHIND A PAYWALL IN THE US, SEVERAL MONTHS BEHIND ITS ORIGINAL SCHEDULE, IN THE WAKE OF RUMOUR AND TROUBLED PRODUCTION. MANY THOUGHT SOMEONE HAD JUMPED INTO A FIREFIGHT WITHOUT CHARGING THEIR PHASER. The full trailer had failed to convince naysayers, who hung onto canon as it crystallised in their grasp as much as it had galvanised those desperate for Trek‘s return.

It was over a year since the last of the current iteration of Star Trek films had been released. Star Trek  Beyond was a brilliant and entertaining film, one of the best reviewed of the season, but had sunk heavily at the box office, bafflingly released months before the franchise’s 50th anniversary.

That Discovery was produced as the flagship show for the streaming network of another company, CBS, said a lot about the fraught rights issues around Star Trek. That CBS hadn’t been the kindest about Star Trek‘s prospects in the years leading up to it said everything else. Bu there were more dramatic and pressing worries. The show’s production was delayed nominally because of the great inticacy of its design (plastic printed Klingon garbs), just one factor that left it vulnerable to being usurped. Seth macfarlane’s Orville duly warped in over on Fox, heavily ‘homaging’ the fan-favourite Star Trek: The Next Generation era in a mix of broad comedy and moral drama that won fair critical approval and audience. The challenge of serving up fresh Trek (having already amassed 725 television hours), set between The Original Series and Enterprise suddenly looked even steeper.

On the way, Discovery had also apparently lost one of its key assets. ’90s Trek veteran, televisual visionary and exactly who everyone wanted to run the new Star Trek show Bryan Fuller… Quit. Fired, pushed, a bit of both, it was a big blow.

Outside America, the rest of us loaded up Discovery on Netflix that autumn not knowing what to expect. But wouldn’t you know, all the above proved a fertile ground for a bold new era of Star Trek. Somehow the combination of concept, a lot carried from Fuller, and logistical need (“alright, let’s veer course and pad things out with the Mirror universe! or something”) set 15 episodes of first rate television, be it genre, science-fiction or plain of Star Trek.

Here’s our summary review of each episode, with our Series average at the end. Oh, and because this was tasty, and twisty throughout, you’ll see our theory-ometer for each episode too – a good indication of where our head’s were at! yIbaH!

1.1 & 1.2: Battle of the Binary Stars

“Discovery strives to set out both sides. And it wins the battle.
The ending’s even more rushed than the disintegration of unity on the USS Shenzhou bridge. But though we don’t see the consequences of big bad T’Kuvma’s mistake, hung on his devotion, the pinch that Burnham has inadvertently created a martyr of this Kahless reborn persists. We lose two compelling characters come the end, in a mess of a fall-out that submerges both sides in shadow and darkness. That’s how strong Discovery is, and the solid set of concepts that can drive missions into its web. We have a strong set of characters, fascinating dynamics and just enough sturdiness about the characters left behind to propel the series on, even if we have little idea how they’ll fit together in the series proper.

It’s bold, and its divisive. But Discovery’s talent prioritised the concept of the show as they saw it, acutely aware that it could never meet every expectations right out of space dock. Creating that potential on the back of so much continuity and such a long break is no mean feat.

CBS, have got a winner, one of the strongest Trek pilots in 51 years, and we haven’t even started the series properly yet. On the strength of this many more people will realise that come the series end.”

Rating: B+

[We also provided a Klingon review of these episodes, as it seemeed only right. the core there? rap je wovbe’!

Where was our theory-ometer? “Prime? this is the Kelvin timeline through and through…” Continue reading “Star Trek Discovery Series 1: Our review of Trek’s new Wagon Train to the Stars”

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Marvel: Back in the Fold… Where can it all go right for the new Spider-Man?

Spider-Man and Marvel's New York

Spider-Man and Marvel's New York

Your friendly neighbourhood Spider-Man is finally future-proof. The Amazing Spider-Man’s two film haul of $1.5 billion was stopped in its tracks with the wintry news of Sony Pictures’ deal with Marvel Studios. Having looked at those two films, now destined to be written out of history, Jokerside looks to the future of Sony’s top superhero franchise… In the bold new ‘world’ of Marvel Cinematic universe. Spider-Man’s not alone anymore.

FOR EVERYTHING THAT CAN CLAIM TO BE PURE MARVEL COMICS, SPIDER-MAN’S AT THE TOP. Until the Dark Knight and the Avengers leaped the billion barrier he was the dominant force in superhero flicks during the formative days of their 21st century cinematic takeover.

The background web

Bucking the rule of diminishing returns

Let’s jump the 1970s TV movies as affecting as they were. The 80s and 90s saw Spidey film rights jump around Hollywood studios like Cannon and Carolco while Tinseltown Alphas like James Cameron and Tobe Hooper circled. The end result was Sam Raimi effective Spider-Man in 2002, a film that served up an eye-watering $821million to prove that the comic movie was ready to seize the heart of the blockbuster season and that the web crawler was top of the pile. By the time Spider-Man 3 was released to lack-lustre reviews five years later, that trilogy had amassed nearly $2.5 billion. By contrast, Fox’s X-Men trilogy, which concluded a year earlier, grossed just over $1.1 billion. Almost inevitably it was Spider-Man’s weaker final entry that took the top spot in his franchise with nearly £900 million. But despite bucking the rule of diminishing returns, the critical stock of the property had fallen sharply as ‘creative pressures’ between director, producers and the studio were clear to see in the finished product.

After some prevarication over a fourth Raimi instalment, Sony’s decision to reboot the franchise five years later, complete with a fresh origin, raised plenty of eyebrows. Just how would the public take to yet another version of that well known Spider-Man origin?

The answer wasn’t too clean cut. 2012’s The Amazing Spider-Man got a lot right. Praised but blockbuster-rookie Marc Webb swung into the director’s seat and produced a confident and stylish film, ably backed by the late James Horner on scoring duties and a fine cast; in particular Andrew Garfield and Emma Stone in central roles that conjured up better chemistry than the Raimi films managed. In all, that was just about enough to power past those unsettling re-origin problems. But it seemed strangely unsure of how it should react to those Raimi films. It set a course closer to the comics but hastily established a great deal of baggage on the way.  And the CGI-overload and bland villain’s plot brought to mind some unsettling comparisons with the dark and icy days of the mid 1990’s Batman films.

Continue reading “Marvel: Back in the Fold… Where can it all go right for the new Spider-Man?”

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