Xena: Warrior Princess Season 3

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1990's, Alexandra Tydings, Bruce Campbell, Hudson Leick, Kevin Smith, Lucy Lawless, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 3

We are now up to the third season of Xena, which follows both a succesful Season 1 and a fine sophomore entry. Season 3 is where Xena: Warrior Princess goes in a more daring and adult direction, and I for one am thrilled. Real emotion and gruelling darkness follow, making it more mature than some may think the show is capable of. It’s standing as my favourite season so far for its impact and way it progresses the show. Be warned, spoilers may follow in my overview.

The legendary Xena( Lucy Lawless) is once more travelling around Ancient Greece and beyond with her trusted best friend Gabrielle(Renée O’Connor). Fighting for the side of good against the evils that stand in the way, the duo are a force to be reckoned with. Only this time, things will turn very personal and threaten to tear apart the bonds of friendship between them. It begins when they arrive in Britannia where Xena wants to have it out with her old nemesis Caesar. Gabrielle is entranced by someone claiming to be a holy man, but it turns out to be something darker. After a fiery encounter with the followers of the dark lord Dahak and the fact that she loses her blood innocence, Gabrielle is impregnated with the child of darkness. Soon after giving birth, all hell breaks loose and the strong bond that Xena and Gabrielle possess reaches breaking point. You genuinely worry about the outcome of all this darkness for the two of them. Though events bring them back together and approaching some reconciliation, just how much longer can their friendship really stand on solid ground after all they’ve been through? With characters returning and more emotional and disturbing stories, Season 3 is a journey into thrills and drama.

As I stated earlier, Season 3 is my favourite season of Xena: Warrior Princess so far. I think everything comes together very neatly and it’s why there is such a high percentage of episodes rated A or A+ below. You can tell that the creators where going for something different but still with that zing that made the show so popular. They weren’t afraid to do different things with the show and incorporate genuine feeling into the mix either. On the visual side, the scenery and camerawork continue to impress with their scope. And once more, the music has a certain epic charm ripe for this kind of adventure. It’s a mightily impressive season of a show that just keeps growing.

Anyway, onto my appraisals of standout episodes. ‘The Furies’ mixes humour and darkness well. A conniving Ares( Kevin Smith of the smooth voice and deadly charm offensive) has The Furies put a curse on Xena for not avenging the murder of her father, which opens up a massive can of worms. In the beginning, the madness Xena suffers is mainly unusual but with a funny twist( like Xena repeatedly referring to Gabrielle as Mavis). But as it continues, harshness and shock set in as she spins further towards losing control, while strangely being not altogether incoherent. It’s an interesting opener that’s for sure and displays two of the show’s finest assets; it’s off the wall goofiness and underlying seriousness. ‘Been There, Done That’ is another exemplary chapter which features the day repeating itself and Xena attempting to figure out how to break the cycle. Once more, humour and eventfulness go hand in hand as two feuding families seem to hold the key to unlocking how to stop Groundhog Day. Speaking of which, this episode is clearly another version of that story of a day on a loop and it has a lot of fun with it. Watching Xena get more frustrated with the repeating events is hilarious as are the various ways she attempts to stop the loop continuing. Really a very funny episode and hugely entertaining. Despite being the darkest season thus far, Season 3 of Xena: Warrior Princess has its share of good comedy too, exemplified by the early entries. And of mention is ‘The Quill is Mightier’. The spiteful and impudent Aphrodite( who has grown on me since her last appearance as Alexandra Tydings is stepping it up) enchants Gabrielle’s scrolls as payback for making Xena more popular than her. In turn, things that Gabrielle writes become true, but chaos ensues as it gets overly literal. Ares makes another appearance, entertainingly squabbling with Aphrodite as they are both accidentally made mortal. And for an episode that doesn’t have Xena in it a lot, “The Quill is Mightier “shows that Gabrielle can be just as interesting as the hero she rides with.

‘The Deliverer’ is when the show starts what is known to fans as the beginning of The Rift. Xena has been a show that has dabbled in darkness before, but here in Season 3, it’s the darkest it’s ever been and all the more fascinating for it. Starting with’ The Deliverer’, where Xena and Gabrielle head to Britannia to help Boadicea battle Xena’s old nemesis, Julius Caesar. Conflict becomes a big theme and not just the physical kind. We have Xena having to reconnect with who she betrayed in the past and Gabrielle becoming closer to a priest she helped save. It’s more what happens to Gabrielle that’s most important here. The priest speaks of the One God and how he will change the world, to which Gabrielle becomes fascinated. But it’s all a ruse that causes her to unintentionally lose her blood innocence after killing another, which in turn frees a dark God known as Dahak. Gabrielle has always been the person against killing so for this to come along and shatter it, it’s pretty momentous and tragic. You can feel the pain of her suffering, which is further cemented by her being levitated above flames( this will have a big impact later). Let’s say it packs an emotional wallop and further kicks off this dark story arc. The follow up in ‘Gabrielle’s Hope’ is just as effective. In it, we discover Gabrielle is pregnant by Dahak and gives birth in a matter of days to a baby girl, prophesied to be the bringer of darkness. Gabrielle believes that the baby( which she names Hope) will be good due to her own , but Xena is severely sceptical . Xena is proved right when the baby kills within hours of birth and attempts to kill the baby. Gabrielle won’t let this happen and runs, hiding the baby in a basket she sends down the river. She then lies to Xena by telling her that she had to kill Hope because she turned on her. It once more functions as something to divide the close friends and put a strain on their relationship. Again, the darkness is at the forefront in a way that is unlike most of Xena, but a very welcome one for me. Plus, The Rift is coming out in major full force, building slowly to something dark. A two parter entitled ‘The Debt’ is Xena at its most lavish and ambitious, once more weaving together timelines. We discover more about a woman who shaped Xena and The Debt she has to pay to the now deceased mentor. We travel to ancient Chin where Xena is saved from betrayal by Lao Ma, a wise woman who sees the good in her despite her sins. instructs Xena in the ways of love and forgiveness, while caring for the warrior woman and helping her to fight when needed. Back in the present, Xena is charged with killing the evil son of Lao Ma, but Gabrielle tries to stop her thinking she is doing  good and not letting Xena go back to her murderous wats. Ultimately, Gabrielle betrays Xena by informing those closest to the man she is about to kill what Xena is planning. The sting of betrayal further exemplifies the growing rift between them that is briefly healed, but you just know will return to bite soon in some way. I’m a sucker for episodes that go into Xena’s past and shows us how she was shaped into what she is in the present.  Overall it’s a gorgeously shot and exciting double header that digs into the past and has some of the most gorgeous imagery so far in the show.

Now it comes to two of the best episodes. In ‘Maternal Instincts’, Hope returns now with the appearance of an innocent girl. She brings back the terrifying and psychopathic Callisto( a memorable Hudson Leick), who persuades her to hurt Xena. Meanwhile, Xena and Gabrielle head to the Centaurs for a peace treaty and to see Xena’s son, Solan( who still isn’t aware of who his mother is). But this reunion is cut short, when Solan is killed by Hope and when Gabrielle realises this, she poisons her offspring which devastates her. Xena’s scream while cradling her son’s dead body is gut-wrenching as is the later funeral for both children which is the major part of the rift as the wedge is driven to near irrevocable between the two. Watching as they walk off in separate directions after this is tragic as their friendship is being nearly obliterated. It’s a highly emotional hour of television. Then of course we have the fantastic musical episode entitled ‘The Bitter Suite’ . After a vengeful Xena attempts to kill Gabrielle and the two take a tumble into the sea, they are transported to a strange world called Illusia. Here, musical numbers reveal their grievances and what feelings of hatred they aren’t dealing with. The musical sequences are excellently astute at bringing humour and dark atmosphere to the events playing out, plus it looks like the producers really went for it on the visual and sound front. From the off kilter feeling of Illusia, through a tango with Ares and ultimately a reconciliation between the girls, it’s an unforgettable episode. And the biggest message of the importance of friendship helps save the day as our heroines find some way to resolve the friendship that they once had. Thankfully, it looks as if the wounds are healing but it’ll be interesting to see if they ever truly get past this dark chapter( my bet and hope is that it does as I love their relationship and think it’s enduring). These two are some of the finest episodes so far in Xena and rightfully hold a high place in the hearts of fans and me. They challenge us as viewers as we watch a friendship nearly go up in smoke, but gradually get back on track for us all to rejoice in. And as if by magic, the following episode ‘One Against An Army’ cements just how much they care for each other by putting them in a major life or death situation as an army invades as Gabrielle lies injured. I think it’s here to reassure us of the close bond that was shattered but was never truly severed. It’s another poignant episode that grows in dramatic quality thanks to the acting. Also of note is the dark but rewarding ‘Forget Me Not’ where Gabrielle finally reconciled with feelings of guilt by going on a sinister trip down memory lane, guided by a prowling Ares. She can decide whether to live with her memories or erase them. Ultimately she decides to reconcile and this is the end to The Rift. And the two part finale is excellent and very surprising, but I’ll leave it to you to see what I mean.

In terms of acting, Season 3 is a high point, especially when it comes to Lucy Lawless and. Lawless excellently conveys both a fighter and someone who is all too human in Xena. The blend of toughness and vulnerability, coupled with undeniable sexual appeal and athletic swagger, is a match made in television heaven that keeps getting better. Gabrielle is put through the mill of emotions and trauma this seas. Renée O’Connor depicts how Gabrielle really starts to wise up more and develop a more harder edge to her personality. Her compassion is still there it’s just counteracted with a sense of weariness from all that has happened to her. Lawless and O’Connor still share a fine chemistry that charts the resentment and resolution of their clash excellently and believably as nothing can tear them apart. Once more, Kevin Smith is superb as the shifting Ares; who like a fox switches sides when he feels like it but does it with style. In the villain stakes as well is Hudson Leick as the oddly tragic but seriously twisted Callisto, who finally gets the release she’s craved since she began her path of vengeance. There’s a real presence whenever these two take to the screen. And with added comic relief coming from Joxer( played by one Ted Raimi, things only get better as throughout the season. Plus, the welcome appearance of Bruce Campbell is a bonus in many ways and I very much enjoy when he returns to Xena as the King of Thieves, Autolycus.

And now on to my episode ratings:

1. The Furies – A
2. Been There, Done That – A+
3. The Dirty Half Dozen – B-
4. The Deliverer – A+
5. Gabrielle’s Hope – A
6. The Debt Part 1 – A
7. The Debt Part 2 – A
8. The King of Assassins – C
9. Warrior … Priestess … Tramp – B
10. The Quill is Mightier – A
11. Maternal Instincts – A+
12. The Bitter Suite – A+
13. One Against an Army – A
14. Forgiven – C
15. King Con – B
16. When in Rome – C+
17. Forget Me Not – A
18. Fins, Femmes and Gems – B+
19. Tsunami – C+
20. Vanishing Act – A
21. Sacrifice Part 1 – A+
22. Sacrifice Part 2 – A+

My favourite Season so far, Season 3 of Xena has all you’d want from the show and more. Trust me, this is the show at its apex with everything operating at a high level.

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Four Weddings and a Funeral

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1990's, Andie MacDowell, Charlotte Coleman, David Bower, Four Weddings and a Funeral, Hugh Grant, James Fleet, John Hannah, Kristin Scott Thomas, Mike Newell, Richard Curtis, Romantic Comedy, Rowan Atkinson, Simon Callow

Director

Mike Newell

Starring

• Hugh Grant
• Andie MacDowell
• Kristin Scott Thomas
• Simon Callow
• John Hannah
• James Fleet
• Charlotte Coleman
• David Bower
• Rowan Atkinson

A most beguiling and funny romance that helped launch the career of Hugh Grant, Four Weddings and a Funeral has lost none of its witty edge, eccentric characters and unexpected pathos.

Charles(Hugh Grant) is someone who can’t seem to keep a relationship. He’s a perennial bachelor, never the groom. With a rag-tag group of friends- cynical Fiona(Kristin Scott Thomas), her not too bright brother Tom(James Fleet), partners Gareth and Matthew(Simon Callow and John Hannah), sassy flat mate Scarlett(Charlotte Coleman) and his deaf brother David(David Bower)- he’s always attending weddings. In most cases, he is late due to clumsiness. Although he’s never seemingly considered marriage or a serious relationship, he finds his world changed when he meets Carrie(Andie MacDowell). She’s an American wedding guest who he meets at the first nuptials. They hit it off and  spend the night together. But timing isn’t on their side and Carrie leaves for the States. The next time they meet(at another wedding) Carrie is engaged to someone else. For the first time in his life, Charles actually falls in love with someone deeply. But even though it’s clear that Carrie has some feeling for Charles, can anything come of the attraction seeing as though their timing is nearly always off?

Director Mike Newell brings polish and pace to proceedings with direction that allows the events to have amusing and fun atmosphere throughout, coupled with moments of sadness and reflection. As the events centre around the what the title says, we know to expect eventfulness, but it’s surprising how well crafted this romantic comedy is. Although it seems we may know where events are going, a few little twists and unexpected moments raise it from just another comedy romance. The Oscar-nominated screenplay from Richard Curtis is a big success at fleshing out the characters as they navigate the sea of love. The script makes us enjoy the company of these people and we grow to love them. They all have wit, charm and purpose in the story and you enjoy feeling like you know them as they encounter all manner of awkwardness at functions. From being seated at a table of exes to improvising when forgetting wedding rings, they all occur in hilarious fashion. Between the skill of Newell and the fun of Curtis, Four Weddings and a Funeral is a good-hearted success. Laughs flow like great wine and the entertainment factor is high.

But Four Weddings and a Funeral also has a bittersweet undercurrent to offset any worries of overly sentimental treacle. I mean if you aren’t crying at the funeral scene where ‘Funeral Blues’ is delivered, you’ve clearly not got much of a heart. This movie can deliver on the serious stuff and isn’t afraid to either. This balances with the buoyant feeling of the overall film that has a laugh at love’s complexities and bad sense of timing. Four Weddings and a Funeral is heartwarming stuff with that added something extra, that lands it in the pantheon of excellent romantic comedies. A lovely and tentative score backs up blossoming romance and all the feelings love brings out in people. And one can’t forget the use of ‘ Love Is All Around ‘by Wet, Wet, Wet to close out the film.

Heading the cast is the irrepressibly charismatic Hugh Grant. Though he’s visited the persona of bumbling and foppish leading man many times in his career, this was where it started and is one of his best. Grant just boasts this lovable rogue and awkward vibe to him that really makes a mark in the film as he finally discovers love may in fact be on the cards for him. Endearing is the perfect word for Hugh Grant’s star making presence here. People occasionally rag on Andie MacDowell by saying she’s not the most expressive actress and sometimes it’s true ,but I think she is quite well cast as the potential love interest. She’s got radiance, vitality and a certain mystery that I love and displays they under good direction MacDowell is really something.  Plus her burgeoning chemistry with Grant is delightful. Kristin Scott Thomas is reliable as ever, turning the role of the sarcastic Fiona into something more by revealing that her behaviour stems from unrequited love. Simon Callow and John Hannah are wonderful scene stealers playing the only happy couple among their group of friends. Callow is brash and full of life, Hannah is more subdued but wise. Both compliment the other in an inspired way that is convincing and involving. James Fleet is a hoot as is Charlotte Coleman as the most off the wall member of the gang and David Bower as Charles’ brother, who comes in handy in a crisis. An amusing small part is filled with great humour by Rowan Atkinson as a completely inept vicar.

A winning romantic comedy with heart and laughs, Four Weddings and a Funeral is hard to resist.

Xena: Warrior Princess Season 2

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1990's, Bruce Campbell, Hudson Leick, Karl Urban, Kevin Smith, Lucy Lawless, Melinda Clarke, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 2

‘Following on from the successful first season, Season 2 of Xena: Warrior Princess expands on the building blocks created and crafts more mythology and eventfulness for us all to enjoy. It’s safe to say that Season 2 is full of quality and more opening up of narrative

Xena(Lucy Lawless) continues journeying through Ancient Greece with loyal best friend Gabrielle(Renée O’Connor). She is still on her quest for redemption for the bloody actions she caused and the suffering she inflicted on others. On her journey this time, the past is opened up once more as we learn about Xena’s past and why she did what she did. We see that she gave birth to a son named Solan, who she gave to the centaurs to raise and the difficulty she has to live with in letting her child go. Joxer(Ted Raimi), the wannabe warrior is back and journeys with the duo with his own mix of bumbling misfortune and complete lack of understanding that he isn’t skilled at all in combat. Callisto( Hudson Leick) returns to wreck vengeance on Xena and undergoes a number of transformations while destroying all she can around her. Many more enemies and familiar faces return, along with some newer ones. Let’s just say it’s eventful for Xena and company in their testing travels.

One of the biggest things to discuss with Season 2 is how everything seems a little more crisp and you can see that the budget has been upped and that every bit of money is on screen to relish. Some effects have lost a bit of edge, but the vast majority handsomely hold up. But most importantly is something that happened behind the scenes that had the greatest impact on Xena. Lucy Lawless, while filming a skit for the Jay Leno Show, fell from a horse and fractured her pelvis. With the second season in production, the producers and writers had to think of a way to accommodate the main star. They settled on a body swap between Xena and Callisto, which worked surprisingly well. Also there are episodes where Xena is incapacitated. It all could have been a jumble, but thankfully it is quite seamlessly done and the improvisation and quick thinking on the producer’s part is ace. Watching Lucy Lawless and Hudson Leick play versions of the other as is the return of Kevin Smith as the smooth Ares.

My further discussions of main standout  episodes is next and there are a good few to discuss. The opener entitled ‘Orphan of War’ delves into Xena’s internal scars as we witness her protecting the son she gave up years before, but doesn’t tell him that she is his mother for fear of something bad befalling him. It is an episode that really shows the woman underneath the warrior and how she is human after all, when not being the fierce fighter we all know her as. A fun episode and one of the best that blends both a creepiness and campiness are ‘Girl’s Just Wanna Have Fun’. In it, Xena, Gabrielle and Joxer search for missing girls who have been kidnapped by Bacchae; bloodthirsty followers of the God Bacchus. They bite the necks of victims and seductively lure them to the catacombs of their master, where the victim must drink his blood to become an irreversible Bacchae. Gabrielle is pulled into this and is turned into a temporary Bacchae, which results in her biting Xena( pushing the subtext of them being romantically linked in a very suggestive way). It’s a very intriguing and atmospheric episode with a slinky techno score and a highly kinetic visual style. This involves frantic point of view shots, fast motion followed by slow motion and multitudes of overlapping images. It all culminates in a darkly sexy and tongue in cheek episode to really sink your teeth into.

‘Return of Callisto’ is another highlight as it brings back a fine nemesis. She kills the man who Gabrielle marries, who she could have been happy with. If anything, Callisto does us a favour as  it allows us to see that Gabrielle when pushed could have a darker side to her than expected. Although she comes to her senses, it sets up that maybe Gabrielle could be swayed to evil just as Xena is tempted often. Added to this is a brutal chariot race and Callisto seemingly dying by being pulled under by quicksand. Obviously, she isn’t dead and comes back even more vengeful later, setting the stage for much drama. A very meta episode appears in ‘The Xena Scrolls’, which has 1940’s descendants of the main characters searching for the fabled title artefact.  It’s hugely entertaining as it has fun the mythology of the show and has the actors portraying varying personas. It’s like an Indiana Jones adventure twinned with cheeky humour for extra, knowing measure.

Of special mention is ‘Destiny’, which stands as one of my favourite episodes so far. In it, Xena’s life hangs in the balance after being injured in battle. As she hovers precariously between life and death, she is reminded of her past and we finally get some answers on what made her who she was. We’ve heard parts about what lead her to be the destroyer of nations, but now we get the full picture. After her home village was butchered by a ruthless warlord, Xena took to fighting. But even though it started good, she grew evil from all the power she had. After becoming a feared warrior, she entered into a relationship with the brash Julius Caesar(a sneering Karl Urban). He accommodated Xena and their collective desires for power grew. But crafty Caesar betrayed and had her crucified, her legs broken and left to die of malnutrition. Luckily Xena was saved and learned her trademark sleeper hold from a woman who sacrificed her life to save the warrior. She continued to be evil until her renouncing into the pillar of good she attempts to be in the present. It’s one excellent episode that has everything you want in Xena; fun, darkness and revealing adventure. Plus it’s fantastic to finally grasp more about Xena herself and what lead her to this moment. 

The follow-up in ‘The Quest’ is further goodness featuring Xena’s spirit attempting to get back to the mortal world as it isn’t her time to go. Comedy and drama ensue as she takes control of both Gabrielle and returning Autolycus(returning favourite Bruce Campbell) in order to reclaim her body and stop the power crazed sadism of new Amazon Queen Velasca(a nasty and sexy Melinda Clarke). Subtext here is stronger and the kiss between the girls in ‘The Quest’ is a leading example, along with the aforementioned Bacchae episode. The kiss is in a sort of dreamscape so whether it counts is up for debate, but it’s certainly memorable in how it continues to tease the audience. On the goofy side of things we have ‘A Day in the Life’ which takes the form of an amusing reconstruction of what a day for Xena and Gabrielle consists of. The humour wisely makes fun of some of the show’s staples, like men always falling for Xena upon first meeting her and the banter between both girls. It’s very jaunty and effortlessly engaging in laughing at itself and I loved what it did. Darkness abounds in ‘The Price’ which is unusually stark and ferocious as Xena comes to the aid of a depleted army fighting The Horde. The trouble is Xena gets back in touch with her more disturbing impulses that she has repressed and it spills over into the present. Whenever Xena gets tempted back to the side of evil, it’s always fascinating to watch as she could easily sway back into it or return to good. The main crux of the show is Xena attempting to right her wrongs but also the fact that some darkness may still lie in her soul. All it takes is something to stir it, even though it’s been dormant for a long time. 

One can witness things going up for Xena and it becoming the cult show we all know. The producers really went for it on the action and expanding on story, which paid off handsomely. This accounts for the long run of high quality episodes in here, as you’ll see in my rankings. There’s a bit more cohesion here and you generally feel that the Xena hit its stride here. Not that the first season wasn’t a success( it was a resounding one), but Season 2 is the show at its best in terms of what it gets from the past and its elaboration on the building blocks. You can sense that this was the high water mark of the show and while not every episode was a hit( some new additions like Aphrodite don’t work), it was still mightily fun.The general score is a further impressive one that gets to the heart of action and atmosphere, while being a fine way to compliment beautiful scenery. And the action set pieces are upped with fierce style, adding another sheen to a high quality season.

Lucy Lawless once more makes a steely and formidable impression as Xena. Lawless navigates the physicality of the role and the general understanding of wanting to change. She’s tough and spiky, but possesses a genuine heart and growing selflessness. Plus, she’s one hell of a kick ass heroine who continues to evolve with fun, seriousness and attitude. It’s hard to picture someone else playing the role quite as well as Lucy Lawless, who is ace as our Warrior Princess. Renée O’Connor is excellent as an ever-growing Gabrielle. She has ideas of decency that are frequently challenged in a world of war, but sticks to her guns as well as learning s lot along the way. Plus, she’s toughened up a lot but doesn’t scrimp on emotion as it’s one of her defining trademarks. Lawless and O’Connor continue to display the closeness of their friendship in excellent ways, while suggesting that there is more to their bond than meets the eye. Ted Raimi is on goofy form as the returning Joxer, whose completely deluded but strangely lovable. Joxer is a character that divides many, but I like his addition to the show. Hudson Leick rocks it again as Callisto, relishing the despicable, damaged and disturbed nature of the vengeful woman. Her scenes with Xena sizzle with anger and resentment, culminating in some exciting scenes. Kevin Smith is on charismatic, burning form as the returning Ares. He has this wicked grin and appeal to him that are hard to resist and despite the fact we know he’s mainly bad news, Kevin Smith does it in style.

And now to my episode rankings, which are as follows:

1. Orphan of War – A
2. Remember Nothing – B+
3. The Giant Killer – C
4. Girls Just Wanna Have Fun – A+
5. Return of Callisto – A
6. Warrior … Princess … Tramp – B+
7. Intimate Stranger – A
8. Ten Little Warlords – B+
9. A Solstice Carol – D
10. The Xena Scrolls – A+
11. Here She Comes … Miss Amphipolis – B-
12. Destiny – A+
13. The Quest – A
14. A Necessary Evil – B
15. A Day in the Life – A
16. For Him The Bell Tolls – C-
17. The Execution – C+
18. Blind Faith – B+
19. Ulysses – B
20. The Price – A
21. Lost Mariner – C-
22. A Comedy of Eros – C

A fine sophomore season with darkness, humour and always supplying action, Season 2 of Xena provides many thrills and fun as it uses the template set up and moulds it into its own creative and divergent thing.

Xena: Warrior Princess Season 1

Tags

1990's, Bruce Campbell, Hudson Leick, Kevin Smith, Lucy Lawless, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 1

A spin-off from Hercules: The Legendary Journeys that went on to eclipse its predecessor, Xena: Warrior Princess became a pop culture phenomenon thanks to its tone and iconic title character. So here I am ready to review the first season of this show. Let’s get on with it and be warned, spoilers may be in this review.

In Ancient Greece, former warlord and Warrior Princess Xena( Lucy Lawless) is travelling and attempting to rectify her brutal past and atone for the suffering she caused so many. She’s beginning to renounce her title of Warrior Princess, but she’s spurred into action when she encounters villagers being attacked by rampaging men. Taking back her sword and power, she vows to do good with her skills as a fighter. One of the girls she saved, an aspiring bard named Gabrielle( Renée O’Connor ), is bored with her life and wants some adventure. She sees Xena as her ticket to the wide open world some form of fun. Xena, who is used to being alone allows Gabrielle to come along with her. although skeptical at first, the two become very close friends in the long run . On their travels they encounter all manner of action and adventure as they come up against warlords, God’s and many things from Xena’s past coming back to menace the warrior and tempt her back to the dark side.

What immediately strikes you about Xena is the tonal diversity of the episodes. They go from serious dramas to tongue in cheek comedy and almost everything in between. There’s something for everyone to enjoy here. It’s best not to take most of it seriously because of the often goofy sensibility that colours a few areas, though there are deep moments of emotion to behold on the other end of the spectrum. Especially in the case of Xena and her search for redemption after her former darkness. I will say that Xena: Warrior Princess is a show that can be a bit like Marmite for some because of how oddball it gets. But it hits the spot for me with its multitude of tones and well-executed ideas. One of the main things that I’m aware of with this show is the endless debate over the nature of the relationship between Xena and Gabrielle. They are very close and almost always together as friends would be. But many see something deeper to it and I can understand why some think of Xena and Gabrielle as a couple. The writers are canny enough to sly and ambiguously reference this in many instances with innuendo appearing a handful of times between the two and situations that put them closer together. There are only snippets of something more than friendship in this season, so it will be interesting to see how their relationship grows and how it will turn out.

On the visual side, the use of New Zealand as a filming location is inspired in how it stands in for Ancient Greece in all its beautiful splendour. And it’s pretty great how anachronistic the show is. It doesn’t purport to be the gospel truth about the mythology it references, instead running with it and having a blast. It plays by its own rules and is in my view, all the better for it. A rousing score that fits the shifting ups and downs of Xena’s life and can be so many things given the episode at play.

Great episodes abound in this introductory season. The opener cleverly sets up the title character as she begins her journey to some form of redemption while hinting at what will come. ‘Dreamworker’ has Xena entering a dreamscape to save Gabrielle from being sacrificed to the God Morpheus, which will happen if age spills innocent blood. Xena must contend sit her past here as it quite literally comes back to haunt her. It’s a very striking episode. In ‘Reckoning, we are introduced to the darkly charismatic Ares. He will, from what I’ve read, become a more prominent character in the series. I’m glad to hear that as he is very smooth and dark and the story of him trying to coax Xena back to the dark side is extremely watchable and Kevin Smith is ideally cast as the silver-tongued God. The episode in question does a great job of showing how Xena may be trying to right her wrongs but could easily go back to the dark side if swayed. In ‘Hooves and Harlots’ Xena and Gabrielle come into the middle of what could be a war between the resourceful Amazons and traitorous Centaurs. It is in this episode Gabrielle comes into her own a bit more and displays skills as a fighter that will come in handy. She may be the sidekick of the series, but we see that she’s no slouch either as evidenced by her willingness to learn.

‘Warrior … Princess’ is a fine comedy episode where Xena impersonates a damsel in distress that is far removed from her tough girl persona, leaving the other princess to attempt to emulate the fierceness of Xena. All of this has hilarious results for both and shows off the comedic chops of Lucy Lawless. Another standout ‘The Royal Couple of Thieves’ features Bruce Campbell as a thief with a big ego that teams up with Xena to retrieve a powerful object. The banter and chemistry between Xena and Autolycus is something to behold and makes the episode a particularly strong venture. On a more serious note, ‘Callisto’ introduces a vengeful nemesis for Xena who has dedicated her life to destroying her as it was Xena’s army that slaughtered her family. This episode makes an interesting case for Callisto being the dark side of Xena, like the other side of a coin. She embodies, thanks to the frightening and unnerving work of Hudson Leick, a psychotic evil that is taunting and won’t rest. The dynamic between them is fascinating as Callisto attempts to get Xena to kill her, putting the Warrior Princess in a dilemma over whether to kill what she has created  The episode also serves to introduce the comic character of Joxer( a very funny Ted Raimi), an incompetent wannabe warrior who is lovable nonetheless. And the season is closed out in emotional fashion when Gabrielle seemingly slips to the other side after being injured in the middle of a civil war. Watching as Xena screams and pounds her chest is heartbreaking, but thankfully Gabrielle is soon back with the land of the living and the two are soon on their way to new adventures. It’s a high point of the show that displays the close relationship of its protagonists.

The cast is a big selling point of Xena and one that makes you truly buy into it. At the centre is the sexy Lucy Lawless as the eponymous Warrior Princess. She projects a strong, intimidating but also sardonic and seductive image of a woman you wouldn’t want to mess with. Lawless has the athleticism and when the occasion calls for it emotion when discovering Xena’s pain and regrets that she has harnessed into a tough visage. Renée O’Connor has the innocence and pluckiness to counterbalance the seriousness and worldliness of Xena. And though she is often the main sidekick, O’Connor makes Gabrielle just as important as a character. Plus the chemistry between the two of them is exemplary. While best friends, Xena is the more hard-edged of the two. Gabrielle on the other hand has a thirst for knowledge and a desire to discover the world and all that it has to offer.

And now for my episode rankings:

1. Sins of the Past – A
2. Chariots of War – B
3. Dreamworker – A
4. Cradle of Hope – B-
5. The Path Not Taken – C
6. The Reckoning – A+
7. The Titans – C-
8. Prometheus – B
9. Death in Chains – C+
10. Hooves and Harlots – A
11. The Black Wolf – B+
12. Beware Greeks Bearing Gifts – C
13. Athens City Academy of The Performing Bards – D-
14. A Fistful of Dinars – B
15. Warrior .. Princess – A+
16. Mortal Beloved – B
17. The Royal Couple of Thieves – A
18. The Prodigal – C-
19. Altared States – C
20. Ties That Bind – B
21. The Greater Good – B
22. Callisto – A
23. Death Mask – C
24. Is There a Doctor in the House? – A

So so all I have left to say is that Xena Season 1 is a blast that has me gearing up for what follows. With a feisty and fierce leading character and entertainment galore, you can’t ask for more.

Party of Five Season 6

Tags

1990's, 2000's, Jacob Smith, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 6, Paula Devicq, Scott Grimes, Scott Wolf, Wilson Cruz

And here it is, my review of the final season of Party of Five. I must say its been quite an experience watching this family drama and observing the ups and downs of the Salinger Family. Here I am at the final stage, bidding farewell to the moving drama and characters I’ve come to feel for and enjoy the company of. Be warned, spoilers will follow in this take on the last season of Party of Five.

We rejoin the Salinger’s as Charlie(Matthew Fox) and Kirsten( Paula Devicq)are about to tie the knot. After numerous slip ups and hiccups, they finally marry, overcoming much adversity and obstacles that have stood in their way. Though Kirsten never thought she could have kids, with advances in research she decides it is time to start looking into IVF. It will be a trying time for them especially with young Owen(Jacob Smith) and baby Diana to look after, but they are willing to ride it out in the hopes of a positive outcome. Daphne is still around and has employed the help of nanny Victor(Wilson Cruz)to help with Diana when needed, he soon becomes a close family friend to the Salinger’s. Griffin(Jeremy London) is also very much a presence in their lives, particularly when he is involved in a motorbike accident and they cover his insurance to help him out. Bailey(Scott Wolf) is busying himself with things and not communicating with Sarah(Jennifer Love Hewitt). The strain on their relationship since she turned down his marriage proposal in Season 5 grows bigger and ultimately Sarah breaks off their romance. She decides that she wants to find herself and promptly leaves behind their relationship once and for all. As he feels he’s got no one to rely on or something to fix( plus an intense and ill advised rebound relationship), Bailey’s desire for alcohol comes back. Thankfully he is aware of it and decides to sort himself out rather than spiralling out of control like the last time. 
Julia(Neve Campbell) is offered a book deal that puts pressure on her to dig into her life and examine the painful times. She’s determined to do it, though it will prove difficult to assess all she has been through in such a short space of time. Claudia(Lacey Chabert) continues to grow into a mature young woman faced with the beckoning responsibilities and confusion of adulthood. She is nearly forced upon by a drunken classmate and it forces her to retreat into herself. It’s only with Julia’s help that she opens up again and tries to get back to her usual searching self again. In the end, the Salinger’s must decide how to move on with their lives and in what direction it is best to go in.

The main theme running through everything in this last season is moving on. Each of the Salinger’s has to contend with the possibilities of the future and what may lie ahead. More issues and moving moments ensue in this final season, rounding out the impressive arcs of the characters. There’s the peer pressure for Claudia, Bailey’s lapse into alcohol again and Julia’s journey of writing a memoir. Some story lines don’t quite add up or work(anything to really do with Daphne and Bailey’s relationship with a girl name Holly drags), but the vast majority of things compensate for that. Certain ones are hard to ignore, though we can still watch and be entertained by the various events the characters find themselves going through and their choices. What’s made the show one that I have enjoyed is the relatability. Every character is flawed and yet likeable in their own way and that’s been a consistent strength in Party of Fve during its run.

Major episodes that stand out are Griffin’s accident bringing everyone together, showing Party of Five at what it does best; emotional drama. The following episode gamely explores how the Salinger’s banding together to help Griffin in a way we are accustomed to seeing. One of the finest is titled What if and is a look at what life may have been like for the Salinger’s if their parents hadn’t died. It occurs following Bailey crashing his car and it examines the way in which lives can play out not according to plan or sometimes go another way. It’s a very strong episode that really reflects on how much they’ve all grown up in the years since their parent’s death and it’s neat seeing various ways that characters may have interacted if not for that one critical event. Season 6 may not be the best season of Party of Five( that honour goes to Season 3), but it signs off very credibly and emotionally in a way befitting of what’s come before it. What’s best about it is how it ties everything together and concludes the journeys of the Salinger’s in heartfelt fashion. The best episode is the last one that shows all of the characters letting go of the past, keeping their memories of good times and finally moving on with their lives. It’s a pleasing, emotional episode as Bailey, Julia and Claudia all accept scholarships, internships and a chance at college while Charlie, after reluctance, gives his blessing. What’s most moving is the selling of the Salinger home, which has experienced just about every event known to man. The episode finishes with the characters saying goodbye to the house and finally letting their wings fly. And if you don’t have tears in your eyes, there is seriously something wrong with you.

By this point, the main cast is completely in tune with the characters they’ve played for years and still doing a hell of a good job at. Matthew Fox is ace as the oldest Charlie, whose life has been eventful and a complete roller coaster just like his siblings. Fox has grown into the part and has shown the progression from slacker and selfish to mature and authoritative. He’s finally become someone selfless, hard-working, dependable and happy about it. Scott Wolf is fine once more, alternating between cheeky and fun loving and desperate to stay afloat. Bailey has beaten his demons before and with Wolf understanding it, that makes his recovery all the more well played and realistic. Neve Campbell’s mix of assurance and vulnerability is wisely kept intact with Julia as she matures and has to dig deep for some inspiration of what to do next in her life. In a similar vein, Lacey Chabert, with her combination of innocence and attitude, gets to the emotionally confused centre of Claudia in a time where she is confronting things she doesn’t want to, yet planning her future at the same time. Paula Devicq is supportive and caring as Charlie’s wife Kirsten, who more than anything would love a child of her own. It’s very nice seeing her and Charlie finally together for good. It’s been an extremely rough road for the pair along the way, but thankfully they have come through as they belong to each other and always have. Jeremy London appears as Griffin who is also looking to the future and grateful to the Salinger’s for everything they’ve done for him. Jennifer Love Hewitt, who appears only briefly before leaving is still effective as the conflicted Sarah, who needs some answers and assurance in her life. Scott Grimes returns again, playing Bailey’s best bud Will with a real enthusiasm and supportive nature in times of need for Bailey. Wilson Cruz is fine as the new addition of Victor, someone who is both fair and loyal to the family and little Jacob Smith is growing fast as the youngest sibling Owen.

A fine send off to a quality show that brought emotion and honesty to the issues faced by young people, Season 6 of Party of Five rounds things off in respectable and excellent fashion. I hope everyone has enjoyed my reviews of this show, as it’s been a ride of emotions for me and I’m happy I discovered Party of Five. I will definitely miss this show now that I’ve finished it, but I can bid farewell happily too.

Aladdin

Tags

1990's, Aladdin, Animated, Disney, Fantasy, Gilbert Gottfried, Jonathan Freeman, Linda Larkin, Musical, Robin Williams, Scott Weinger

The quite fabulous and ever so lovely Gill and splendid Crystal asked me to partake in a blogathon to honour the talents of Robin Williams. I simply couldn’t refuse this offer as I’m such a huge fan of Williams. For my choice, I decided to review the wonderful Disney flick Aladdin.

Film Title

Aladdin

Directors

Ron Clements and John Musker

Voice actors

• Scott Weinger as Aladdin
• Robin Williams as Genie
• Linda Larkin as Princess Jasmine
• Jonathan Freeman as Jafar
• Gilbert Gottfried as Iago

A joyous and energetic take on Arabian Nights from Disney, Aladdin is chock full of stuff to enjoy and be a part of.

In the streets of Agrabah, Aladdin is a young urchin who along with his monkey sidekick Abu, must steal to survive. Although he must rob, he is an inherently decent person just attempting to make it from one day to the next. His life is about to get a whole lot more eventful very soon. He meets Jasmine; a spirited girl who is actually the daughter of the Sultan and therefore a Princess. She has run away from home because according to a law, she must be married to a prince very soon. So far, she doesn’t like any of the suitors that have been selected for her. She feels stifled by royal protocol and wishes to marry for love. On their brief meeting, Aladdin falls in love with her, but fate has other plans.  Also involved is the villainous adviser Jafar, who wants to have power and never-ending domination over everything. He has identified that Aladdin is the person who can get him what he wants. That would be a magic lamp hidden within a magical cave. After imprisoning Aladdin, Jafar disguises himself as someone else to lure him to the place in the sands that is known as the Cave of Wonders. Inside, Aladdin and Abu accidentally upset the order of things and end up trapped. Upon rubbing the lamp, an energetic and fast-talking Genie emerges, ensuring Aladdin that he has three wishes that he can grant. There are limitations to what he can wish for, though Genie and Aladdin develop a friendship and Aladdin promises Genie that he will set him free as a final wish. Helping them out the cave and with Genie’s help, Aladdin masquerades as a famous prince in order to woo Jasmine and ultimately stop Jafar in his evil tracks.

From the opening of swirling sands, Aladdin looks gorgeous and magical. The vivid colours used in the animations are something to marvel at as Aladdin finds himself in an adventure and fantasy. The visuals are all in place for us to admire as well as many other key ingredients that make Aladdin a great movie. The briskness of pace bring out the fun right from the start, never letting any flab or dull moments sink in because of its fastness. The humour and adventure appeal to both grown-ups and children because it covers a wide range of styles. This is especially prominent once Genie enters the picture and all the great pop culture references and nods are in full abundance. The music is another ace high point of Aladdin with many numbers standing out. The sublime and romantic ‘A Whole New World’ is a great match for the visuals of Aladdin and Jasmine taking a magic carpet ride, while the bombastic ‘Prince Ali’ and ‘Friend Like Me’ are a perfect summation of Genie and his antics.

The assembled voice actors do extremely well with the characters they have and are all well-suited. Scott Weinger has the right amount of fun and charisma for the title character, which goes a long way with how much we like Aladdin and his journey. But its Robin Williams and his voicing of Genie that truly makes Aladdin that something to treasure. His endless impressions, vocal acrobatics and wildfire delivery are scene-stealing in a completely amazing way that is very much to Williams’ style of comedy. Genie is a character who brings an already great movie into the levels of excellence it achieves. With Williams the man behind it, it is quite impossible to not laugh along with Genie as he helps shape Aladdin with his wisdom and zany antics. It simply wouldn’t be the same movie if Williams wasn’t a part of it. Linda Larkin has a sweet but strong voice that is just perfect for Jasmine, while Jonathan Freeman is appropriately slimy and nasty as the main villain of Jafar. His voice is very snake-like, which comes in handy with such a foul and evil character. Just as Aladdin has a sidekick in Abu, Jafar has the loud-mouthed parrot of Iago, voiced with relish by Gilbert Gottfried.

A bundle of hip fun for all ages, Aladdin is dazzling movie making from the animation, music and voice acting. But best of all, it’s a showcase for the talents of Robin Williams and a special one at that.

A Month by the Lake

Tags

1990's, A Month by the Lake, Alessandro Gassman, Drama, Edward Fox, John Irvin, Period Drama, Romance, Uma Thurman, Vanessa Redgrave

Film Title

A Month by the Lake

Director

John Irvin

Starring

• Vanessa Redgrave as Miss Bentley
• Edward Fox as Major Wilshaw
• Uma Thurman as Miss Beaumont
• Alessandro Gassman as Vittorio Balsari

A lush, beautifully charming romantic drama set in 1930’s Italy, A Month by the Lake is a perfectly agreeable movie that allows you to spend time with a starry cast in gorgeous locations.

Miss Bentley is a lively spinster who has visited Lake Como every year for sixteen years. It is 1937 and talk of war is in the air, plus she is there without her father who has passed away. The place has changed, she observes and her loneliness is felt. Thankfully a distraction comes in the shape of the proud and stuffy bachelor Major Wilshaw, who at first is distant because of how assertive and spirited she is. But he is won over by her enthusiasm for life and lightening up, begins to enjoy his stay. This looks like the makings of romance for two people who haven’t has the best of luck when it comes to relationships of the heart. Yet the bratty and unsettled young nanny for a nearby family Miss Beaumont begins to stir things through a cavalier gesture that has the Major believing she genuinely cares for him. Miss Bentley notices this and is perturbed at Miss Beaumont’s conduct, as she deeply feels for the Major. But while Miss Beaumont enjoys her little games and teasing, Miss Bentley proves just as good at playing games of her own. At the same time, a younger Italian man takes a romantic interest in Miss Bentley, which plays right into her hands. All of this ultimately leads to more seriousness for all involved in the romantic entanglement.

John Irvin is behind the camera here and his observant direction is simple and flowing. He doesn’t bring any tricks to the table, but then again A Month by the Lake is not a tale that requires extensive stylistic choices to tell its story. This is a film with a light and airy charm, yet still revealing a slyness and somewhat more serious side to the tale. Humour has a place here, with dry and wry occurrences arising from misunderstanding and the great way that the characters are in a spinning roundabout of actions centred on desires of the heart. In the second half of the picture, the romantic tug of war becomes a lot more serious and dramatic, as the true extent of feelings finally become known. This change is handled admirably by the script and direction, exuding a little bit more emotion than was to be expected from such a film. Although breezy is a word that comes to mind, A Month by the Lake contains some genuine gravitas and melancholy that are pretty hard to miss within the framework of everything. The gorgeousness of Lake Como is visible in almost every frame; creating a heavenly setting for loves to blossom and for life to flourish in the days leading up to the Second World War. It’s like an elegant chocolate box of visual pleasures for the eyes as the setting is perfectly brought to life. Things can get muddled within the story and more than a few times a little bit of laziness creeps in, but the main buoyancy of A Month by the Lake is enough of a distraction from those particular flaws. The score is gentle and earnest; complimenting the feeling of having fun while there is still time for those lazy days in the sun to treasure in the memory.

Heading proceedings is the willowy and immensely radiant Vanessa Redgrave. Full of vitality, spirit and heart, her Miss Bentley is a character who sweeps you up in her outgoing and vivacious lust for life. Redgrave fully captures everything about this woman with her gift for suggestion and expressive face both tools in conveying the need for love this woman yearns for after the loss of her father. As usual, Redgrave provides a beautiful air of energy and charisma to her role that truly makes it something beautiful. Edward Fox has the right amount of dignity, cockiness and sadness for the part of Major. There is a real elegance and contrasting humour and pathos in Fox’s work that simply put is something special. Uma Thurman provides a counterbalance to Redgrave’s elegance and subtlety with a strong performance as petulant and callous Miss Beaumont. Knowing how pretty she is, she thinks nothing of toying with affection, largely stemming from boredom and a stifled upbringing. Thurman brings out the vixen in the part and how immature Miss Beaumont is, a brave thing to do as she isn’t afraid to be unlikable in the role. Alessandro Gassman is the handsome man whose romantic longings for Miss Bentley allow her to level the playing field.

A breezy gem of a movie that can also conjure up pathos, A Month by the Lake is a pleasant enough way to spend an hour or two of your time. With humour, romance and sublime scenery(plus an elegant cast), its easy-going but engaging which is often just what the doctor ordered.

I Know What You Did Last Summer

Tags

1990's, Anne Heche, Freddie Prinze Jr., Horror, I Know What You Did Last Summer, Jennifer Love Hewitt, Jim Gillespie, Johnny Galecki, Ryan Phillippe, Sarah Michelle Gellar

Film Title

I Know What You Did Last Summer

Director

Jim Gillespie

Starring

• Jennifer Love Hewitt as Julie James
• Sarah Michelle Gellar as Helen Shivers
• Ryan Phillippe as Barry
• Freddie Prinze Jr. as Ray
• Anne Heche as Missy Egan
• Johnny Galecki as Max

Although penned by the same guy who wrote the game changing Scream, I Know What You Did Last Summer doesn’t quite fall into the category of classic. And despise that, it’s actually quire a good horror movie. Not really newfangled or unexpected but extremely serviceable and entertaining in what it presents.

In their hometown of Southport, North Carolina, Julie James, her boyfriend Ray, best friend Helen Shivers and her beau Barry are taking part in celebrating the end of high school and the Fourth of July. After Helen is crowned beauty queen, the group continues to celebrate by visiting the beach. After a round of ghost stories and intimate moments, the popular kids hop into Larry’s prized car. As Barry is too drunk and disorderly to drive, sensible Ray takes the wheel. Yet things take a dramatic and drastic turn as their enthusiasm is brought crashing down when they accidentally hit a stranger while driving. Thinking he is dead, the group goes into meltdown. Filled with severe panic over what this could cause them and their future plans, the group agree to dump the body in the river. Julie reluctantly takes part, but feels immensely guilty about her part in it. As they are dumping the body, the man they thought was dead briefly stirs in his dying grasps, causing Barry to push him in the river. This seems to kill him and now the four friends know they are now accountable for murder. As each vows to remain silent about their involvement, this secret will soon weigh heavy on them. A year later and the group have been driven apart by their respective guilt. Julie returns home a shell of her original bubbly self, and things are about to get a lot worse. Receiving an anonymous note in the post that spouts the eponymous title, her fear escalates as she is forced to come into contact with her disparate group of friends once more. Someone obviously is aware of their actions and wants them to pay for it, but just who could it be? The very person makes his presence felt, armed with a fish-hook that he hacks victims with, leaving a growing trail behind him. All the while, he is heading for the terrified quartet who he has an axe to grind with. Investigating, the teens believe all of this terror relates to a specific person, but discover it’s a lot more complicated than it is straightforward. Before more bodies hit the floor, can Julie and her estranged friends uncover who the killer is?

As I previously referenced, I Know What You Did Last Summer is no Scream, and yet this is sometimes why there is unfair dissent us aimed at the film. Sure it’s not the hip, self-referential classic, but even though its traditional, it gets the job done handsomely. Jim Gillespie has a nice handle on things and manages some immensely good scares and jolts of nerve jangling. As a movie, it has a good sense of mystery to it which for me is a plus in a horror movie. It doesn’t take a genius to work out some of it, but it can be surprising when it wants to be. Not that it’s without plot contrivances and a little bit too much complexity, but by and large keeps you watching. The movie comes apart in the last act, where it attempts to be overly smart but ends up getting a bit ahead of itself. But for the main duration, thanks to a good script from Kevin Williamson, I Know What You Did Last Summer still has a lot of atmosphere and effective use of foreshadowing. There is also something very eerie about the fishing town setting, added to this is the moody colour palette. A shivering and strangely melodic score further brings tension to the piece.

A cast of largely 90’s idols play their parts well, even if the characters are somewhat lacking in quarters. Jennifer Love Hewitt is our main focal point; the good and largely pure girl who genuinely feels guilty about her part in the previous summer’s events. A nice vulnerability is clear in her work and it suits the role of Julie, benefiting from a quiet determination too. Out of all the characters, Julie is the one that you have the most sympathy for. Sarah Michelle Gellar, while not kicking ass in style as she did in Buffy, is very well used as the confused beauty who might be somewhat shallow, but is far from a bad person. Playing the part of resident jerk, Ryan Phillippe does a credible job of really making us despise the spoiled little brat that is Barry. You do feel genuine resentment towards the character because of his selfish actions and lack of concern for anyone but himself. Freddie Prinze Jr is the main person who is given a serious lack of things to do. And no amount of enthusiasm can perk his part up. Anne Heche provides unusual support as someone who may be linked to the case and has the off-kilter vibe to set you on edge. Johnny Galecki briefly but memorably has a role as the rather unfortunate first victim of the killer.

No classic of horror but the provider of some good scares and attractive cast, I Know What You Did Last Summer deserves a bit more recognition than its received.

Ghost

Tags

1990's, Demi Moore, Drama, Fantasy, Ghost, Jerry Zucker, Patrick Swayze, Romance, Tony Goldwyn, Whoopi Goldberg

Film Title

Ghost

Director

Jerry Zucker

Starring

• Patrick Swayze as Sam Wheat
• Demi Moore as Molly Jensen
• Whoopi Goldberg as Oda Mae Brown
• Tony Goldwyn as Carl Bruner

A hybrid of romance, supernatural and thriller, Ghost still entrances audiences with its emotional heart. And while it would be easy to write it off as just another generic weepy, its heartfelt impact can’t be denied, as can’t find work from the cast, including an Oscar-winning Whoopi Goldberg.

Sam Wheat and Molly Jensen are a couple are madly in love with each other and living in Manhattan. Life is good for them as Sam is a successful banker and Molly enjoys her work as an artist. That is until their bliss is shattered one night. Coming home from a play , they are accosted by a thug and Sam is fatally shot. Yet while dead, his spirit doesn’t move on to the afterlife. Unfortunately, though he attempts to communicate with Molly, he can’t. Molly retreats into grief following his death and shuts herself away. After much shock has settled in, Sam slowly finding his footing as a spirit and how he can impact on Molly’s life and clutch tight their bond. Sam also discovers that his death was not just some random mugging gone wrong but part of a dodgy scheme that he’d inadvertently stumbled into earlier in the film. It was organised by Carl Bruner, who he considered a friend but is revealed to be a contemptible weasel. Realising that Molly is now in danger, Sam frets about how he can help his beloved. His possible answer comes in the surprising form of Oda Mae Brown, a fake physic who ironically can hear him. Oda Mae is reluctant and startled by her gift, which she never actually realised was there as she’s faked being a psychic for money. Yet after much persistence, she agrees to help him reach Molly. The trouble is proving to the grieving young woman that Sam’s spirit is still there. Time is soon ticking for Sam as he attempts to warn the devastated Molly of her impending danger and to finally move onto the next life knowing that she is safe.

On directing duties is Jerry Zucker, who brings considerable skill to Ghost. He really finds so many angles and different genre elements to contend with and he largely gets it right. Ghost at its heart is a romance with immense spiritual overtones to it. Yet it also boasts many moments of fine humour and even has thriller elements that are surprisingly strong and boast some unexpected tension, complete with some detours into the spooky realm. It’s a credit to Zucker that most of the hoops keep spinning in sync with each other, only occasionally stumbling in steps that can be easily forgotten given the rest of the picture. Overall, Ghost is definitely a memorably moving movie that knows the ways to get you deeply involved with the immensely heartfelt story at play. And it’s impossible to forget the justifiably famous scene of Molly and Sam at the pottery wheel that develops into a sensual encounter. It is so sexy and romantic, along with changing the way audiences would see pottery forever. Though it’s been parodied to death, the original scene still holds a special place in cinema as a most sexy and tender scene of two people genuinely in love with each other. Sure Ghost works on your emotions, but it gets right to the heart of the theme of love transcending all that it’s hard to really fault as it sucks you in. If you’re not flowing with tears by the end, you mustn’t  have a sensitive bone in your body. For Ghost beautifully and often poignantly highlights that love is in fact eternal and that the feeling of a loved one never leaves, whether they be alive or dead. And I for one bought into it, along with the various melding of genres that I mentioned earlier. Ghost may run a little too long, but that can be papered over given the investment and impact of the movie in general. Maurice Jarre is the man behind the sincere, romantic and frequently atmospheric score of Ghost, that goes a long way to accentuating the themes of love overcoming all and still burning.

Patrick Swayze has the right physicality and decency for the part of the Sam, whose desire and love for Molly is what keeps his spirit alive after he is killed. The part could easily have been bland or boring, but Swayze raises it up to a respectable level and adds his own spin on it that ensures we buy into his mission to save his beloved. Demi Moore, who has never looked more beautiful than she does here, also sells the desolation and passion of her character. And man is she damn effective in the emotional scenes, her tears cause you to shed them too. Standing out the most in proceedings is the scene-stealing Whoopi Goldberg, in an Oscar-winning performance. It is her who injects a lot of humour into the film and gives it yet another dimension. Acting as Sam’s often hilarious and sassy voice piece, Goldberg creates a character of high energy and care. It will be impossible not to laugh at just how funny she is here, being the memorable comic relief yet also finding some soulful honesty too. Rounding out things is Tony Goldwyn; appropriately nasty and sly as the backstabbing man whose actions lead to Sam’s murder. It’s a credit to Goldwyn that you really wish his character the worst and hope he gets exactly what’s coming to him.

A memorable romance that combines other genres like fantasy and sometimes tense thriller into the mix to a largely pleasing and arresting effect, Ghost will both warm and break your heart. So grab some chocolate, get the tissues at the ready and watch this romance that retains a sensitive and soulful presence today.

Party of Five Season 5

Tags

1990's, Jacob Smith, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 5, Paula Devicq, Scott Wolf

More drama and eventfulness befalls the Salinger family in the penultimate season of Party of Five. Despite some melodrama sneaking in and muddying the water, Season 5 still has its moments to shine with honest situations and characters you can feel for. Though it is overall a mixed season after the largely successful fourth one, it’s still immensely watchable. Spoilers will most likely follow.

After the unexpected news of Daphne’s pregnancy at the end of Season 4, both Charlie(Matthew Fox) and Daphne have decided to go through with having the baby. But as its so unexpected, both struggle since their plans and personalities are clashing. Charlie is being overly sensitive about everything, while Daphne is in a complete muddle. Everything is halted however when Daphne must have emergency surgery, resulting in the baby being born premature. After much concern and a couple of unpredictable moments, the baby(a girl given the name of the Salinger’s late mother Diana) is born and Daphne is fine. After a while, it becomes that Daphne seriously can’t cope with a baby, which baffles Charlie . Kirsten(Paula Devicq) is on hand for help, but her own marriage is under strain as her husband is of the thought that she is spending too much time with the Salinger’s. Kirsten and Charlie grow closer again, especially given all their history. Owen(Jacob Smith) feels pushed out of everything with the new baby. It soon comes to light however that Owen may in fact have a learning disability. Bailey(Scott Wolf) and Sarah(Jennifer Love Hewitt) are once again a couple and living in their own apartment. While they have to iron out their respective differences, things go pretty well so far. Yet Bailey has to ultimately deal with his growing desire for some control over his direction in life, something heightened when he sees that Owen is being left out. Julia(Neve Campbell) and Griffin(Jeremy London) are in the process of splitting up and keeping distance she to their differences and problems. Julia heads to college and just wants to concentrate on studying, while Griffin ponders what to do with his life. While studying, she catches the eye of intense and brooding Ned and they begin dating. Things are going well with Ned, until his dark, angry side emerges. This results in him physically assaulting and beating Julia, causing her to be one isolated from those around her. Although a strong person, Julia feels trapped in this horrible situation. Claudia(Lacey Chabert), who is now becoming very mature and sassy, is now off to boarding school. While she asserts her independence and individuality, she still experiences lands of longing to be with her family and whether she should be there for them, as she’s done it for so long. She ultimately finds comfort with Griffin when everyone else is busy and he kindly reassures her that she’s a special girl. The situation between Bailey and Charlie gets dramatically more angry and eventually reaches them fighting for custody.

Once more, Party of Five deals with difficult issues with a mostly realistic and moving assurance . And yes some parts of this season don’t work in what it attempts to show, but the main stories are on point and filled with pathos, humour and heartfelt delivery. The prospect of a baby prompts a touch and go aspect to that story line while it unearths the difficulty and transition of being a parent. At first that is set up well, but falls into the trap of overly familiar and stretching credibility. Much more well-managed is the examination of Owen’s feeling of being left out once Diana is born. It’s something that I’m certain everyone can relate to in some way or another, and it’s explored excellently here. The domestic violence story is handled extremely well and with sensitivity, never shying away from the horror and implications of abuse. If anything, Party of Five in its fifth year starts to get a but sensational. There is a feeling of tiredness in some of the execution of episodes. Some of the organic nature in earlier seasons gets jumbled up here, resulting in Season 5 getting knocked down a few pints in my estimations. Not that it’s a disaster by any means Though the vast majority of this season is more than enough to compensate this slip into melodrama, with the fine writing and acting making Season 5 a good addition to the series. What is crucially there is the very foundation of family. We buy into the Salinger’s as a family; they’re troubled, close and flawed but you can’t help but gravitate towards them. And considering the amount of ups and downs their lives have taken, rough edges are bound to be there. Even when close to utter disaster, you hope things can resolve.

Though a more flawed season of the show, Party of Five still gives us an abundance of fine episodes. There is when Owen goes missing in the mall on Thanksgiving, leaving everyone reeling. Even though you can feel that he will be found, you are genuinely left panicking in the situation. Thankfully, Owen is found but it is just the start of him becoming more frustrated and disconnected from his family. Then there is a Christmas episode that ranks highly. Things that have been hinted at get more prominence and come into fruition more, signalling the dilemmas of everyone and doing it with customary honesty. An episode of everyone facing up to their flaws and desperate situations beautifully gets into great areas. This followed by the verdict on he custody situation of Owen, that goes in a way you wouldn’t expect. So amid the decline in some of the realism and strength of earlier incarnations, Season Five has its moments too and gets better as the season goes on.

Matthew Fox gets to Charlie’s pig-headed and selfish need to always have things his way without support, even though a lot of events have featured the whole family contributing. It’s obvious he isn’t completely selfish, but the return of some of Charlie’s earlier traits is noticeable. Scott Wolf really gives it his all in this season, showing us Bailey in a deep predicament while contemplating life. Bailey’s assertiveness grows but he even begins to feel like his compulsion for control is straddling him to a halt. Combined with likable nature that he often gives off and complimented by his self-doubt, Bailey is probably one of my favourite characters. Neve Campbell excellently hits the required mix of doubt and deep vulnerability as Julie goes through a horrible ordeal. Julia is not a stupid or weak character by any means, usually being helpful, strong and considerate while dealing with a multitude of problems. So to see her go through this is shocking but well-played. Campbell gets that feeling of entrapment just right as Ned tightens his grip and she must summon up her strength to do something. Claudia’s has to grow to up in the past very quickly, but now is doing it on her own terms which sees her more decisive and independent than ever. She still cares for her family and we witness how it takes her time to adjust, but Lacey Chabert gets across the need to spread her wings and become who she wants to be. In essence, the battle between familial support and finally being her own person is Claudia’s struggle, which is naturally observed. Jennifer Love Hewitt is given less to do this season and at times the character of Sarah grates, but she’s still pretty solid in the role. Paula Devicq nicely finds the heart of Kirsten wanting to break from her closeness to the family, but finds that she cares too much to do that. Jeremy London is given the most material he has even been given in the show and uses it well; portraying concern and the hope that Julia will come back once more. And not to be forgotten is young Jacob Smith, who splendidly plays the young Owen whose behaviour begins to worry at first but is finally supported when it comes to light the difficulties he is facing.

The wheels start to come off with Season 5 and it’s noticeable, but there are still moments of greatness to be gleaned in Party of Five. Hopefully, the last season can really step it up to the excellence of past seasons.