Chances are nobody was really ready to put of the bunting when it was announced that 80s children's favourite Danger Mouse was being revived. After all said plenty online why not just show the David Jason era episodes again, its not as if they've dated in any meaningful way - the new series essentially proves that to be true as they have changed very little in terms of tone and style. Sure the visuals are slicker but they are very much patterned after the original look and feel while the script and voice characterisation could almost be lifted straight. The casting is pretty much perfect Alexander Armstrong as DM knows when to raise a vocal eyebrow and Kevin Eldon is perfect as Penfold, capturing the essential traits of the little guy who'd love to be big if only he was brave enough (and actually he's happy enough leaving the derring-do stuff to Danger Mouse). The stories are as daft as a brush and all the better for it - its hard not be smile when the villain in an episode is a toilet which has gone through an unintended forced software upgrade. The gags come quick and often and many of the quips will surely zoom right over the heads of the supposed core audience. As such Danger Mouse is arguably wasted on CBBC and instead would make a nice piece of tie-in programming with Pointless on BBC One - after all they have the same lead in both!
Reviews
7 Reviews
They Might Be Giants
(1971)
A film about the world we choose to make
14 July 2015
George C Scott is Justin Playfair who has believed himself to be Sherlock Holmes since the death of his wife, his brother wants to section him so to get his hands on the money Justin controls. Enter psychiatric doctor Mildred Watson....
Effectively a companion piece to another James Goldman scripted romantic light drama Robin and Marian (1976) They Might Be Giants is a quirky story about loners, the lonely and love. Scott and Joanne Woodward (as Dr Watson) are both terrific esp in the later scenes as the relationship moves to the personal and Watson gives up her rational self for love and imagination.
There is simply no way any major studio would make a film of this nature with the equivalent actors (if you could find them!) in 2015. Its too offbeat, too obtuse though one could imagine the best of cable channels giving this type of material a chance.
Wiki notes the film is available in a couple of different edits - the version I saw on More4 (UK) was the 88 minute edit with the full supermarket scene included in a later version missing.
Effectively a companion piece to another James Goldman scripted romantic light drama Robin and Marian (1976) They Might Be Giants is a quirky story about loners, the lonely and love. Scott and Joanne Woodward (as Dr Watson) are both terrific esp in the later scenes as the relationship moves to the personal and Watson gives up her rational self for love and imagination.
There is simply no way any major studio would make a film of this nature with the equivalent actors (if you could find them!) in 2015. Its too offbeat, too obtuse though one could imagine the best of cable channels giving this type of material a chance.
Wiki notes the film is available in a couple of different edits - the version I saw on More4 (UK) was the 88 minute edit with the full supermarket scene included in a later version missing.
The Anderson Tapes
(1971)
Crisp Old School Heist Film
23 May 2015
The 2nd of the Sidney Lumet/Sean Connery collaborations is an early entry in the 70s surveillance/paranoia genre combined with a fairly standard heist storyline as a con having only just got out of sing sing decides there is a killing to made from a New York town-house full of wealthy types. Featuring an interesting score from Quincy Jones and superbly crisp editing Joanne Burke (ever notice how often editors are women?) Lumet as usual doesn't waste a moment with everything moving a clip as the plan is hatched, takes shape and is executed. There are one or two style touches that are very much of the era esp the tape playback moments early in the film and brief flash forwards during the burglary sequence.
As for the tapes in the title ah well....that would be telling.
Christopher Walken makes his debut and you have to wonder why it would be another six or so years before his career took off, cos he's obvious star material. Everyone else is good value for their efforts esp veterans Margaret Hamilton and Judith Lowry as the bickering "spinster" couple in one of the apartments.
As for the tapes in the title ah well....that would be telling.
Christopher Walken makes his debut and you have to wonder why it would be another six or so years before his career took off, cos he's obvious star material. Everyone else is good value for their efforts esp veterans Margaret Hamilton and Judith Lowry as the bickering "spinster" couple in one of the apartments.
The Life of Rock with Brian Pern
(2014– )
Pitch Perfect Parody of Pretentious Prog Rock Peoples (mild spoilers)
23 December 2014
Warning: Spoilers
The Life of Rock with Brian Pern is the Spinal Tap of the small screen, just as Rob Reiners comedic portrayal of an aging and diminishing heavy metal act was at its best in the tiny details, the moments that you almost miss or which require deep familiarity with the genre actor/writer Simon Day (along with Rhys Thomas) catches the essence of his targets perfectly.
He is the writer and singer of 70s prog act "Thotch" Brian Pern who, having long left his old band mates behind is now a seer, nay a visionary of our times - the inventor of world music and plasticine based music videos, fund raiser for bi-polar Polar bears and the originator of the "unwieldy stage musical based on a science fiction classic" genre (in this case the Day of the Triffids which due to Perns creative block arrived decades after War of the Worlds made Jeff Wayne, who was listening with a glass pressed to the wall in the studio next door, a millionaire).
Every type is here - the contemporary rock stars, DJs, cultural commentators, sullen band mates, hangers on, record company executives and of course the oily money-grubbing manager who is perfectly caught in the form of Michael Kitchen, who talks out of the corner of his mouth like every word was costing him personally.
While ones familiarity with the last 40 years of pop culture and prog rock specifically will clearly help you get the most laughs from the material those too young to get the details can still enjoy the broader characterisations and situations that befall our sage.
We've had two short form series so far, here's to the third.
He is the writer and singer of 70s prog act "Thotch" Brian Pern who, having long left his old band mates behind is now a seer, nay a visionary of our times - the inventor of world music and plasticine based music videos, fund raiser for bi-polar Polar bears and the originator of the "unwieldy stage musical based on a science fiction classic" genre (in this case the Day of the Triffids which due to Perns creative block arrived decades after War of the Worlds made Jeff Wayne, who was listening with a glass pressed to the wall in the studio next door, a millionaire).
Every type is here - the contemporary rock stars, DJs, cultural commentators, sullen band mates, hangers on, record company executives and of course the oily money-grubbing manager who is perfectly caught in the form of Michael Kitchen, who talks out of the corner of his mouth like every word was costing him personally.
While ones familiarity with the last 40 years of pop culture and prog rock specifically will clearly help you get the most laughs from the material those too young to get the details can still enjoy the broader characterisations and situations that befall our sage.
We've had two short form series so far, here's to the third.
The Capone Investment
(1974– )
The Capone Investment - TV Movie Edition
30 September 2014
As mentioned this old Southern TV pot-boiler was screened by the now defunct Film24 a few years ago, the property is now occasionally on Movies4Men as a cut down film clocking in at just about two hours including a handful of ad breaks.
Having not seen the series version I can't comment on what's been removed or whether it means the current version is stronger or weaker for that editing but as viewed The Capone Investment proved a quite enjoyable minor work and one that gains some kudos for me for the mere fact Ian Kennedy Martin came up with the idea in the first instance - wondering what happened to the American gangsters millions and then managing to come up with a story that meant it could be filmed by a regional British TV company on its own patch takes more imagination than I have! In the acting stakes its definitely John Thaws show, you can see the proto John Regan in his performance - no nonsense, a threat of violence, he will get his man! The rest are largely perfunctory though Peter Sallis does have "something of the night" about him as the C15 agent attached to the police investigation.
In terms of its production it is very cheap looking, as was the way in the 60s and 70s in house fiction series were often recorded on film when on location and on video for the studio work (sometimes video was used inside and out), when compared to more expensive series of the same era that were shot entirely on film - Space 1999, the Sweeney, the New Avengers etc it looks very crude at times but I suppose that's part of the retro charm!
Having not seen the series version I can't comment on what's been removed or whether it means the current version is stronger or weaker for that editing but as viewed The Capone Investment proved a quite enjoyable minor work and one that gains some kudos for me for the mere fact Ian Kennedy Martin came up with the idea in the first instance - wondering what happened to the American gangsters millions and then managing to come up with a story that meant it could be filmed by a regional British TV company on its own patch takes more imagination than I have! In the acting stakes its definitely John Thaws show, you can see the proto John Regan in his performance - no nonsense, a threat of violence, he will get his man! The rest are largely perfunctory though Peter Sallis does have "something of the night" about him as the C15 agent attached to the police investigation.
In terms of its production it is very cheap looking, as was the way in the 60s and 70s in house fiction series were often recorded on film when on location and on video for the studio work (sometimes video was used inside and out), when compared to more expensive series of the same era that were shot entirely on film - Space 1999, the Sweeney, the New Avengers etc it looks very crude at times but I suppose that's part of the retro charm!
Toast of London
(2012–2020)
Lets hope its recommissioned!
25 November 2013
In an era of comedies that are over-hyped and undercooked Toast of London has, with hardly anyone noticing, delivered the goods. The travails of stage actor and frequent voice over artist Steven Toast are, in the hands of lead actor Matt berry (who also wrote the theme music) and writer Arthur (Father Ted) Mathews a clever mix of parody and pratfall with musical interludes which reveal Toasts world to be populated by colourful grotesques and passing fools. The situations that develop are delightfully eccentric and frankly not easy to describe as so much is down to pure timing, a hand gesture and a thrown look. Suffice to say if you enjoyed the more lunatic, surreal outer reaches of Father Ted you should be ready to try a slice of Toast.
This Film Is Not Yet Rated
(2006)
No sex please - we're Americans, until the rating system is changed
30 March 2009
The most interesting aspect for this viewer was the observation that mainstream Hollywood product is now more regulated than a generation ago (Hal Ashbys Coming Home being cited as a film that would probably get lumbered with an NC17 now). That violence is treaty more leniently than sex/nudity is of course no shock as the whole tenor of Hollywoods output is "bang bang" rather than "kiss kiss".
As a non American it seems to me that the classification system is real problem. In most countries there is no advisory aspect with regard to a rating, if its an 18 then you must be at least 18 and so on, whereas the rule that an R means a child can see a film of adult nature if accompanied means the classifiers always have one eye on the potential child with guardian.
Change the R to a stricter 17+ rating and the emphasis can be switched and the NC17 dropped.
As a non American it seems to me that the classification system is real problem. In most countries there is no advisory aspect with regard to a rating, if its an 18 then you must be at least 18 and so on, whereas the rule that an R means a child can see a film of adult nature if accompanied means the classifiers always have one eye on the potential child with guardian.
Change the R to a stricter 17+ rating and the emphasis can be switched and the NC17 dropped.
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