Pirates of the Caribbean: At World’s End

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2000's, Adventure, Bill Nighy, Chow Yun-Fat, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Keith Richards, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: At World’s End, Stellan Skarsgård, Tom Hollander

The concluding part to the original trilogy of fantasy/adventure films( though two other sequels would inevitably follow), Pirates of the Caribbean: At World’s End is rousing but at times a very mixed bag. It’s very fun and has sublime action, it just gets a tad sidetracked with wrapping up many plot points. Still, it boasts quite an entertaining spectacle from Disney and I love it for that and how epic it feels.

The very existence of pirates is under attack from the evil and power mad Lord Cutler Beckett( Tom Hollander) . He has begun executing anyone associated with piracy, in the hope it’ll bring out the prominent members of pirate world out into full view for him. As his power grows, mainly due to him having control over the fearsome Davy Jones( Bill Nighy) after coming into possession of his cut out heart, pirates must form unlikely alliances to survive. In Singapore, Elizabeth Swann(Keira Knightley), the resurrected Barbossa(Geoffrey Rush) , Will Turner(Orlando Bloom), Tia Dalma(Naomie Harris) and others loyal to Jack Sparrow(Johnny Depp), arrive to meet with the famed yet shifty pirate lord named Sao Feng (Chow Yun-Fat). He possesses a navigational chart to the Locker, but being a crafty pirate he isn’t just going to give it over that easily. After their meeting is ambushed by The East India Trading Company and Navy, Sao Feng sends his crew along with the rescue group for Jack as he is prone to going with whoever benefits him and going whichever way the wind blows. The group need Jack in order to have someone who is part of the Pirate Brethren and can make a decision regarding the next course of action against Beckett and the fleet he owns. Each has a motive for wanting Jack’s return, particularly Elizabeth who feels guilty for her part in his imprisonment and Will who has plans that are personal to him . Will saw Elizabeth kissing Jack before his demise and didn’t understand that is was her distracting him. This is put a wedge between the lovebirds that both hope to overcome. Along the way, backstabbing occurs as loyalties shift and people attempt to survive the oncoming fight for their very lives. Journeying from Singapore to literally off the edge of the world, the real tag crew finally find Jack in Davy Jones Locker.  After much tribulation in an attempt to return to the normal world , now with a reluctant Jack, things seem to be on an even keel . But it’s not going to be plain sailing for them all, far from it. Elizabeth discovers her father Governor Swann( Jonathan Pryce) was murdered by and this ignites more action inside of her, we witness how she’s more than happy to go against the grain now and take charge in fierce fashion when it gets personal. Will wants to rescue his cursed father Bootstrap Bill(Stellan Skarsgård) from damned life on the Flying Dutchman . The only catch is that he must stab the heart but then become the captain of the vessel. This would mean he would be parted from his beloved Elizabeth and only every ten years for one day would he be allowed to see her is still mourning the goddess Calypso, who he loved and when she didn’t return to him, he became the monster he is at present . We learn that Calypso was bound to human form and that form is the ever enigmatic Tia Dalma , who has an axe to grind with the Brethren . Will has to align himself with the slimy Beckett to enable some of his plan to work while Elizabeth ends up with more responsibility than ever. Upon reaching where they need to be , opinions are raised about the future. It’s up to the to fight back against its enemies and though many present have differing motives and ideals, uneasy but needed unions are made as the time for fighting grows closer. Soon battle lines are drawn and it’s a battle that no one is going to forget.

Gore Verbinski still knows how to create a swashbuckler and succeeds in the stakes of action, adventure and fantasy. He has the right gusto to keep things spinning, even if the multitude of plot points is a chore. From doing my research, I saw that At World’s End was filmed back to back with its predecessor and you get the feeling more effort was lavished on Dead Man’s Chest than here . Which isn’t to say that the film is bad, it just can lack focus with all the varying strands it has to contend with and exposition runs heavily throughout. In the last two movies, I have mentioned the run times being a bit long. But here it really does feel overlong and sometimes needs an injection of something to get it going. It’s not hard to feel a bit confused with all the subterfuge at play and the plot points that need tying up getting drawn out. These areas tie the movie up in knots that derail some of the good that it has to offer. Mercifully, when the action and spectacle hit in At World’s Enf, they knock it out of the park in powerful fashion. The last hour or so is an onslaught of breathless action between ships in a stormy sea as the final battle takes place in grandiose style, following a rallying speech from the now fully fledged pirate Elizabeth . Water soaks, sails break and swords clash as the fight for freedom. And it’s pretty spectacularly mounted and executing from near every angle. It’s what the audience has been waiting for and it doesn’t disappoint. Earlier standout moments include the rousing rendition of a call to arms from those about to be put to death, the trippy purgatory of Davy Jones Locker , the rag tag crew slipping a boat over to escape the land of the dead and an extended battle in Singapore on wooden bridges over waterways. And that’s not forgetting the visual front of sweeping camerawork that captures many a cinematic moment, like the as two faction walk towards the other with equal intensity in their eyes that feels like a tribute to an old Western in the best possible way. The sets are gorgeously rendered and we have Hans Zimmer on music duties once more; crafting a suitably epic score that continues to build as the action explodes.

Johnny Depp headlines this end to the original trilogy with usual blend of outrageous comedy styling and moments of occasional seriousness. Jack is wily and up to his usual tricks but we see that he can loyal in his own roundabout way. Knockabout humour and action go hand in hand for Depp in his finely energetic performance that once more makes it mark as memorable. Orlando Bloom has come a longboard way  from the start and it’s great to see him play the ruthless and cunning yet still charming Will. Gone are the overly saintly antics of the first chapters of the character, and we have Bloom playing Will as someone who engages in piracy with efficiency and verve but still has shreds of integrity and selflessness to him. Keira Knightley impresses once more as Elizabeth becomes a fully fledged pirate once she realises that she has nothing left to lose following the murder of her father . She’s vengeful, spirited and knows how to cut anyone down with either words or sword. Knightley is a winner once more in how she’s portrayed Elizabeth throughout the trilogy; her emergence from well brought up lady to skilled, respected pirate is one hell of a journey thanks to the delightful young actress. And who else could look so fetching in pirate garb and command such deep respect from those around her like Knightley? Say what you will about some of the plotting in the trilogy, but the development of Will and Elizabeth has been a shining factor and hugely positive in the course of the three movies. Geoffrey Rush is back and as wickedly entertaining as ever, playing Barbossa with a glint in his eyes and spitting out amusing one liners whenever the occasion calls for it. Stellan Skarsgård, who I’ve aways found to be a really underrated actor, wrings out the sadness from his part of doomed father and damned man. There’s something in his eyes that just really evokes a feeling of pity. Nighy makes for both a terrifying prospect and a tormented man, ably supporting Naomie Harris as the enigmatic long lost love. Once we become privy to the knowledge of the history between these two, their story takes on more pathos that is thankfully a good plot thread that interests. Tom Hollander continues to grease it up as the skippering Beckett, a little man with big ideas who is quite the loathsome cockroach that many characters wish to kill. A wasted opportunity comes in the form of Chow Yun-Fat. He’s a commanding actor and has an elegance to him, but its not put to good enough use here which is most unfortunate. More successful is the stalwart Kevin McNally as the noble friend to all and the one who is the most approachable amid all the larger than life characters. They aren’t the favourite characters of everyone, Pintel and Ragetti(Lee Arenberg and Mackenzie Crook) that is, and but their buffoonery and blunders of quite entertaining when I see them. Some of it wears thin but they are clearly having a blast. Jack Davenport appears again as the Commodore who switches loyalties, and he successfully plays someone who grows a spine a little too late. Jonathan Pryce is sadly sidelined for his part, though the unexpected death of his character certainly sets in motion something within Elizabeth. Watch out for the much publicised cameo by Keith Richards as Jack’s pirate father( with added tongue in cheek humour as Depp based the part he plays on Richards himself)

So if it goes on too long and feels just a bit too convoluted, Pirates of the Caribbean: At World’s End can at least be praised for its acting, action and pure sense of escapism. After all, it’s a fun filled time for most of it that can prove worthy of your patience and viewership. And it caps off the trilogy in style so I can’t begrudge it that.

Pirates of the Caribbean: Dead Man’s Chest

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2000's, Adventure, Bill Nighy, Disney, Fantasy, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: Dead Man’s Chest, Stellan Skarsgård, Tom Hollander

The sequel to the highly successful first film, Pirates of the Caribbean ups the ante and continues on a darker but still entertaining path. My heart may belong to The Curse of the Black Pearl because of nostalgia, but this Disney swashbuckler is definitely a very close second with glorious set pieces and pure escapism galore.

Jack Sparrow(Johnny Depp) is on the run from the Navy after his escape in the last movie. But the Navy is the least of his worries when he is given an ominous piece of news by Bootstrap Bill(Stellan Skarsgård), who is Will Turner’s damned father. Jack owes a debt to the infamous Davy Jones(Bill Nighy); the chilling captain of the Flying Dutchman who has a lot of mystical forces on his side. If he doesn’t pay his debt and become a member of the doomed crew, he’ll be dragged to Davy Jones Locker by the beast known as the Kraken. Meanwhile, lovebirds Elizabeth Swann and Will Turner are set to marry buy on the blessed day, their nuptials are interrupted by the East India Trading Company and they are arrested for helping Jack escape. A warrant is also issued for Commodore Norrington( Jack Davenport), though he is now far from the Navy and a very different person now. The East India Trading Company is headed by the arrogant and conniving Lord Cutler Beckett(Tom Hollander) . This contemptible  weasel tries to strike a deal with Will. If Will can retrieve the magic compass that Jack owns that points to what the use desires, Beckett will pardon him and Elizabeth. The compass would lead to the whereabouts of the Dead Man’s Chest; the heart of Davy Jones that if anyone owns can rule the sea and make others fall under command. Along the way, Will meets his father and after bonding attempts to save him from eternal damnation. Elizabeth is freed by her father(Jonathan Pryce) and she begins to join the hunt for the Dead Man’s Chest after striking something of a bargain with for information on the whereabouts of her man and what he’s seeking. This is also so she can be reunited with her beloved Will and insure his safety. But this time, something begins to creep up on Elizabeth. A frisson with Jack leads to complex emotions becoming known, which troubles Elizabeth. In between loyalties shifting, an islands of cannibals that captures the main crew at one point, an encounter with swamp dwelling clairvoyant Tia Dalma(Naomie Harris)and meeting with the fearsome Jones, it’s going to be anything but plain sailing for the characters. Soon everyone has their sights on the Dead Man’s Chest for their own personal reasons. Just who will emerge with it?

Gore Verbinski is directing again with great flair for skullduggery and action of the highest order . He isn’t afraid to raise the seriousness as well, while still retaining some of the knockabout charm the audience knows and loves. Dead Man’s Chest feels darker than it’s predecessor The stakes are higher here and it shows in feelings of being epic. There’s quite a bit of brutality and darkness in this film(particularly some of the opening shots of prisoners and their fates), but nothing too grisly as it knows just went to push things and when to leave it up to the viewer’s imagination. As I’ve mentioned, is my favourite of the series, yet Dead Man’s Chest is a very enjoyable sequel with plenty to thrill an audience and that’s why I do hold it in high regard. The length of the film is a smidgeon too long but the sheer amount of action and adventure more than makes up for the long running time. The action set pieces come thick and fast, especially in the last half of Dead Man’s Chest. Of particular note is the extended fight for the eponymous chest as all manner of people get their hands on it and lose it in elaborate fashion, Combining humour with breathless action when we see Jack, Will and on a severed wheel from water mill duelling for their lives as it careens through jungle , it’s one hell of a ride on my book. The visuals are of high quality too, crafting many a fine moment of magic. Particularly deserving of the praise is the computer generated design of Davy Jones, who is an amalgamation of sea creatures, most notably having a squid face of innumerable tentacles. The effects make him come to life in very creepy fashion and seem so real, as if he could leap out of the screen in full villainous form. Hans Zimmer takes over score duties and builds on the already impressive atmosphere and then sum. His score thunders along with an epic sweep that pulls you in and is more than a match for the stunning visuals on show.

A game cast is on hand to flesh out this fantasy adventure. Johnny Depp is at head of it as the one and only Jack Sparrow. Depp embodies the sneaky and shifting loyalties of someone used to playing the game. Sparrow is a flawed character as he’s more than happy to sell his friends down the river with a cheeky grin on his face, but Depp evinces the hidden decency that catches up with him. Only Depp can play Jack Sparrow this way and make it truly work, which is one of the highest compliments I can give him. Orlando Bloom is definitely stepping it up as Will, finally throwing off the shackles of being a holier than thou hero. He’s definitely still got some honour, but it’s fun to see him embrace pirate instinct and action, feeling more dynamic than ever before. Keira Knightley excels once more as the ever evolving Elizabeth, who really shows off her flinty and cunning side on this adventure. Knightley, clearly relishing the chance to partake in more action,  possesses the right balance of determination and confusion when her romantic inclinations begin to go in a way she never imagined. The whole triangle is played out excellently as both have things Elizabeth wants, adding further fuel to the fire in the process. A combination of great animation effects and a fine actor in the form of Bill Nighy craft a ruthless character in Davey Jones. Created via motion capture and then with the computer generated design overplayed onto the face of Nighy, Jones is a chilling villain with Bill Nighy lending a great deal of presence and impact to it. The effects are very convincing and worthy of praise but it’s the inhabiting of the part that makes it so impressive on the part of Bill Nighy. His distinctive eyes are noticeable through the CGI and the voice he adopts has a real spine-tingling quality; while a certain pathos and glimmers of someone who isn’t all that bad emerges from this. We are also introduced to the mysterious voodoo priestess Tia Dalma, who provides much in the way of intrigue surrounding her knowledge of Davy Jones. Naomie Harris plays the part with an enigmatic grace and knowing playfulness that is most intriguing as the part is a peach. Jack Davenport reappears as the now dissolute and fallen from grace Commodore, who ruined his image and promise by chasing Sparrow. Stellan Skarsgård makes for a welcome addition to the party as the tragic Bootstrap Bill. Hidden behind layers of crustacean make up, his melancholy delivery is surprisingly touching in the long run. Villainy of the human kind is found within Tom Hollander and his portrayal of a ruthless chairman for the East India Trading Company. Constantly belittling others and acting superior, you really start to despise the character. Which in my book shows how good an actor Hollander is to elicit such strong feelings. Lee Arenberg and Mackenzie Crook provide more knockabout humour as the idiotic pirate duo never far from a scrape, while the stalwart abilities of Kevin McNally are on show as the ever faithful Gibbs. Jonathan Pryce, though only in a supporting part, works his talents to make sure that his character isn’t merely throwaway.  

With plenty of action, darkness and an upping of stakes, Dead Man’s Chest makes for a compelling sequel of fantasy and adventure on the high seas.

Pirates of the Caribbean: The Curse of the Black Pearl

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2000's, Adventure, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: The Curse of the Black Pearl

A swashbuckling fantasy adventure inspired by of all things a famous ride at Disneyland, Pirates of the Caribbean: The Curse of the Black Pearl is rousing, high spirited fun full of action and derring do. I’m sure many were doubtful about a film based on a theme park and how it would go were very surprised by how effective and throughly entertaining it turned out to be.

It’s the 18th Century in the Caribbean and in Port Royal, things are about to get very interesting. The arrival of the infamous Jack Sparrow( Johnny Depp), he of the keen wits, outrageous antics and swagger, is picked up on by the admiralty after he arrives in port minus a ship. Meanwhile, the beautiful Elizabeth Swann( Keira Knightley) is being prepped for marriage to the newly promoted strait-laced Commodore Norrington(Jack Davenport). But this is not as simple as it seems as Elizabeth is chafing at society and there is someone else who carries a flame for her. That someone is dashing blacksmith Will Turner( Orlando Bloom), who admires her from afar but doesn’t act on it because of how rigid society is. Elizabeth helped rescue Will as a boy when he was found floating in the sea when she was making the journey to Port Royal as a little girl. She took the necklace that was around his neck as it identified him as being related to pirates. Years later she has the necklace and is still intrigued by pirates. However society and her protective father Governor Swann( Jonathan Pryce)have subdued these ideas of a life on the high seas. The gold piece soon brings danger to Port Royal when a menacing ship by the name of The Black Pearl attacks. The vicious pirates aboard kidnap Elizabeth, though through her pirate knowledge she manages to stay alive. She is taken to the cursed ship and here she meets the wily Captain Barbossa( Geoffrey Rush) and she gives a false name(Will’s last name) that intrigues the crew. Barbossa is in search of  the last piece of gold from a cursed treasure chest, which currently hangs around the neck of Elizabeth. The curse renders anyone who touches it to become one of the living dead, which Barbossa and his crew are. Only by the spilling of blood from one of pirate lineage can break the curse, which the crew mistakenly believe is Elizabeth. Though Commodore Norrington wants to go about things in the proper way befitting his training, the determined Will has other plans to get Elizabeth back. Will can’t stand pirates, as he is unaware of his own historical link with the sea faring scoundrels, but decides to implore Jack Sparrow for help. Springing Jack from jail and still distrustful, he begins to work with the rapscallion that is Jack. After all, The Black Pearl was Jack’s ship before Barbossa proposed a mutiny against him, thus leaving the crafty cursed pirate as captain. Elizabeth emerges as a stronger person along the way, with much in the way of being resourceful and surviving among buccaneers. Jack Sparrow and Will still have a bit of animosity but work some of it out in their quest to rescue Will’s beloved from the hands of Barbossa . Jack always has something up his sleeve that allows for many turns and twists in what is an epic journey. Much adventure, double crossing and events across the high seas follow for the characters in this adventure.

Gore Verbinski fashions a rollicking adventure yarn with a flair for humour and a really good time of excitement for almost everyone. He clearly knows what he’s doing and provides us with a film that is thoroughly sweeping and action packed. There’s something delightfully old fashioned about The Curse of the Black Pearl, which is mixed with a contemporary and irreverent sense of humour. The two aspects melding make the film very appealing to a pretty wide audience with old school feeling of swashbuckling and off the wall humour and modern cinema techniques proving rather good bedfellows. Pirates become fun and the genre of the swashbuckler is resurrected in style. As I said earlier, I’m sure many expected The Curse of the Black pearl to fail because of its origins. These naysayers were obviously thrown for a loop when it turned out to be a rip-roaring fantasy adventure that both critics, audiences and this reviewer loved. You’d have to be Scrooge to not find something to tickle your funny bone or make you feel swept along on a great voyage in The Curse of the Black Pearl. Set pieces and action are what allows the film to flow on a well tuned ocean of entertainment and swordplay. The effects are rather excellent too, especially when it comes to the undead crew. They are rendered gloriously creepy in the moonlight and make many a good sequence, particularly the first reveal of them to a startled Elizabeth. One little flaw is that the film is a bit overlong and could have used some trimming. Though you can forgive it as the ride is a fantastically enjoyable and enthralling voyage into a time of swashbuckling action and spectacle. The score from Klaus Badelt is a splendid accompaniment to the events on screen, while mixed with a slightly jaunty air that permeates through with brio.

One of the biggest things that stands out in The Curse of the Black Pearl is obviously the cast, headed by a wonderfully creative and attention grabbing Johnny Depp. Portraying the flamboyant and witty Jack Sparrow who always seems to be able to get out of a scrape, Depp is obviously having a ball putting all manner of eccentric traits into the part with superb comic timing and suitable panache. From the drunken walk, ability to confuse those in his way with riddle like language and a daring glint in his eye, Jack Sparrow comes alive thanks to the reliable and unique talents of Johnny Depp. He’s the definitive scene stealer in this adventure and make no mistake about it. The Curse of the Black Pearl would not be the same without him. Then we have Orlando Bloom as the main hero of the piece. Bloom, while not being the finest actor around, has the right physicality and noble presence to compensate for some niggles in his range. Plus he makes for an attractive partner for Keira Knightley as the two characters begin to find themselves acting on their feelings after keeping them under wraps. It’s Keira Knightley, who was rocketed to stardom with her performance here, that really goes through the biggest journey over the course of the movie. Knightley moves from well-mannered but curious lady of upper society/damsel in distress to a strong fighter and smart player of the pirate game. While being a striking presence and mature in demeanour with a tall figure, alert eyes and enviable cheekbones, it’s the spirited energy of a woman not wanting to be apart of a stifling status quo that Keira Knightley brings which sells the part of Elizabeth successfully here. On stellar form as well is the reliable Geoffrey Rush, who is delightfully tongue in cheek yet bristling with a creepy menace. His scenes with Depp are delightful as sworn enemies sparring with both swords and wits. Jack Davenport nails the duty bound honour of a man married to his job and enjoying being the bus, but not quite succeeding on the romance department. Jonathan Pryce has the right elder statesman presence as Elizabeth’s elderly father whose biggest concern is the fate of his daughter in all of this. Kevin McNally embodies the person with the most sense of loyalty, first mate Gibbs. He’s both a hoot and a source of calm among all the chaos around him. The devious pairing of Lee Arenberg and Mackenzie Crook as two of the cursed pirates by the names of Pintel and Ragetti, who are prone to all sorts of trouble is also a source of humour, particularly Ragetti. He has an eye that never seems to stay in place and is found often popping out at the most inappropriate times, causing much in the way of slapstick that both actors play too. 

Rip-roaring, gloriously riotous and a whole barrel of delightful action, Pirates of the Caribbean: The Curse of the Black Pearl is the definition of a fun time at the movies. For adventure and thrills, look no further.

Boogeyman

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2000's, Barry Watson, Boogeyman, Emily Deschanel, Horror, Lucy Lawless, Skye McCole Bartusiak, Stephen Kay, Supernatural Horror, Tory Mussett

A supernatural horror that has some promise, The Boogeyman sadly dies a quick death in terms of watchability and any form of effectiveness as it goes on. A truly missed opportunity hampered by lazy writing, plotting and overall sense of being.

As a child, Tim was terrified of a Boogeyman he believed lived in his closet. This was heightened one night when his father came to comfort his son from what he believed was a nightmare. His father was snatched by an unseen force and never seen again, traumatising young Tim.  Memories of that night are dismissed by others who believe that he was just trying to process his father leaving him and vanishing from his family. Now grown up( and portrayed by Barry Watson), the scars of that night have never left him. He doesn’t have doors on cupboards, keeps lights on even when sleeping and has a dozen locks for his front door. He’s in a relationship with Jessica(Tory Mussett) but there is a hesitancy on his part to further things, which doesn’t bode well with Jessica. Around this time, he receives news that his troubled mother (Lucy Lawless) has passed away. Now without either parents and lots of questions regarding his childhood incident, he contacts his childhood psychiatrist. She suggests staying in his old house to purge the demons that have tormented him. He reluctantly does this and along the way reconnects with childhood friend Kate(Emily Deschanel), who is concerned by his emotional state . Tim knows that he will have to face his fears and confront his demons once he steps back into the house from his childhood. At first nothing happens, but soon enough creepy events besiege the house.  But just what demons will Tim have to fight , literal or imaginary?

Stephen Kay tries to be edgy with a dizzying visual style of quick zoom shots and wind machines a plenty, but it’s ultimately rendered hollow and without a sense of substance. A lacklustre script does the movie no favours whatsoever, resulting in what can only be called a mess. As aforementioned, Boogeyman does have some moments that suggest it could get better. The opening specifically is very creepy and seems auspicious, before delivering sub par work from that moment on. As the film goes on and the jarring editing and sloppy effects take hold, Boogeyman falls apart spectacularly and it’s rendered just dull. Boogeyman is the definition of a film with a seemingly decent set up only to be completely blown apart by awful execution. I can live with a movie being predictable but shoddiness and laziness is another bag. The supposed mystery at the centre is anything but enigmatic as it’s obvious whether the eponymous spectre is real or not. The music is also very obvious and leaves nothing to the imagination, which is a shame as it’s done by Joseph LoDuca, who has done great work on many a film and tv series.

Barry Watson gets the haunted look of someone clearly dealing with a deep sense of trauma but he isn’t particularly given much to work with. Watson himself resembles Timothy Olyphant but sadly doesn’t really show off near enough star presence to make him memorable. Emily Deschanel doesn’t stand out either, despite being a good actress. The problem once again lies with the script that seems to just place her in the story and not really given much depth or reasoning. There’s a small role for Lucy Lawless, but it’s practically a nothing part thats insubstantial. It’s a shame to waste the talents of Lawless in such a thankless and blink and you’ll miss it part. Skye McCole Bartusiak and Tory Mussett are also hampered by underwritten roles that lead to nowhere.

So my advice is to avoid Boogeyman, unless you’re a fan of horror that isn’t really that scary and doesn’t add up in the slightest. It’s best to set your sights on watching some effective horror instead of this piece of drivel.

Ghost Ship

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2000's, Alex Dimitriades, Desmond Harrington, Emily Browning, Gabriel Byrne, Ghost Ship, Horror, Isaiah Washington, Julianna Margulies, Karl Urban, Ron Eldard, Steve Beck, Supernatural Horror

A derivative horror movie that never quite reaches the greatness of its startling opening, Ghost Ship still has some good moments. Overall it’s a rather routine affair that isn’t exactly going to go down as a horror classic.

The film begins with a salvage crew retrieving a substantial amount of money following another successful operation. The crew consists of much experienced Captain Sean Murphy ( Gabriel Byrne) , tough talking Epps( Julianna Margulies), second in command Greer(Isaiah Washington) , pair of jokers Dodge and Munder( Ron Eldard and Karl Urban). This is rounded out by mechanic Santos( Alex Dimitriades) . After their latest success, a man by the name of Jack Ferriman( Desmond Harrington)inquires about their skills and wants them to help him with something. Being a guy who works with the weather department, Jack has seen a ship floating and seemingly abandoned in Bering Sea . As it’s in an area that’s classed as international waters, whoever finds something valuable there owns it. This intrigues the crew, though they don’t realise that this trip will be something very chilling for everyone involved. Using their salvage tugboat, the group that’s headed by Sean and joined by the mysterious Jack, head into the Bering Sea on what they think is just going to be another standard operation that they’ve carried out time and time again . Soon enough after sailing through stormy and extremely treacherous conditions, they come across the Antonio Graza, a large Italian liner that was declared missing in 1962 and hasn’t been seen since. Once boarding the creepy ship that catered once to the rich and powerful of the world, all manner of strange and supernatural events happen. Epps swears that she sees a little girl who swiftly vanishes following a near fatal fall through unsafe flooring by Munder, dead bodies are found in a flooded compartment and doors seem to lock by themselves. Discovering a multitude of boxes filled with gold bars, the team think they’ve got it made, but a malevolent force has other ideas. Tragedy strikes when they return to the tugboat, resulting in a fatality and the vessel being severely damaged when an invisible, mysterious force causes most of it to blow up . With the tugboat now out of action, the group must go back on the in hopes of getting it started again. The ghostly atmosphere and events from the past is not going to make it easy for any of those remaining as a haunting begins to occur with gruesome intent on its mind.

Steve Beck as director manages some moments of tension and scares but parson the pun, is all at sea when it comes to the nitty gritty of events. As a result, Ghost Ship never rises above being merely watchable. Now the main area to praise is the opening sequence which also sadly provides the big highlight for Ghost Ship. We begin back with misleading titles that look romantic and sweeping in the grand Old Hollywood tradition . Drinks are flowing and the party is in motion, just before carnage strikes. A thin wire cord is tightened by an unseen person then set free across the dance floor. It manages to leave all the passengers bisected in immensely graphic fashion because of how taut and quick it is. The only one spared is a terrified and lonely little girl named Katie(Emily Browning) , who because of her petite stature avoided being brutally butchered. The scene is pretty horrifying and the use of practical effects and camerawork truly makes it one that stays with you. It’s such a shame that after such a promising opening and hints of greatness, Ghost Ship retreats down the seen it all before route. Still some of the ambience works on the ship, especially from a visual standpoint. Unfortunately mostly everything ends up hamstrung by stupid decisions from characters and some questionable moments that really make it seem very amateurish. Take for instance when we learn a bit more about the ship; this is told from the perspective of Katie, who initially survived and is now something of a haunted presence. What should be intense sequences of dread and startling revelation are drowned out by a modern cross between rock and some kind of ambient dance that just does not fit at all. It baffles me as to why the people behind the film decided to go down this avenue, also peppering events with no real sense of logic to glean.

The cast for the most part are pretty decent in what is a misstep of a movie. Gabriel Byrne bristles with intensity and a sense of leadership, complimented well by his authoritative voice and internal struggle that threatens to burst out. The big standout of Ghost Ship is Julianna Margulies, who brings a tough attitude and feeling of grounded emotion to the part. Margulies makes Epps the most resourceful character as well as the one who is explored the most throughout. It helps that she’s the most rational person as well, making it easy for her to stand out even when at the mercy of unfocused material. Desmond Harrington has a certain enigmatic quality that makes you wonder if his character is letting more on than he is. Unfortunately, the rest of the cast predominately isn’t that great. Isaiah Washington is pretty ineffective as the second in command who seems to spout various parts of exposition and attempts at knowing, while falling foul of the cliches inherent in the genre. Ron Eldard and Karl Urban are left with thankless roles as the alleged comic relief with the same also going for Alex Dimitriades. Thankfully a young Emily Browning is rather impactful as the young guide through the ship; her haunted visage and habit of appearing then vanishing greatly benefitting a threadbare story.

So with a cracking opening and decent cast, Ghost Ship has two things in its arsenal. Sadly, there’s little else to really get excited about here. Anyone who watches will see what I mean.

50 First Dates

Tags

2000's, 50 First Dates, Adam Sandler, Blake Clark, Comedy, Dan Aykroyd, Drew Barrymore, Peter Segal, Rob Schneider, Romantic Comedy, Sean Astin

Delightfully funny and surprisingly touching romantic comedy, enlivened by burgeoning and fantastic chemistry from Adam Sandler and Drew Barrymore, 50 First Dates is a cut above a lot of romantic comedies. 

Henry Roth(Adam Sandler) is a womanising, love them and leave them guy who works as a marine vet in Hawaii. His usual policy is to make up fabricated stories with attractive tourists, give them a good time then leave them . That is until one day he walks into his local diner and spots the beautiful art teacher Lucy Whitmore(Drew Barrymore). But with Lucy it’s different as he finds himself feeling love for the first proper time. This budding romance however is dampened by the news he receives the following day. and being rejected by her, it’s explained to him that Lucy was in a car accident a year prior. The injuries she sustained have rendered her without the ability to create new memories, so every morning she wakes up thinking it’s the day of the accident but doesn’t know about the trauma. All her memories from before the accident are there which include the preparations for her father’s birthday; it’s the forming of new memories that’s the problem. Her protective father Marlin( Blake Clark)and steroid using brother Doug( Sean Astin) have even made it look like it’s the same day as a re-enactment as they don’t want her to deal with the emotional turmoil and knowledge of what happened to her. With this knowledge that the woman he cares for has short term amnesia, vows not to give up on what he sees as his shot at proper love. are none too pleased with this and warn Henry against pursuing this. But Henry is nothing if not determined to continue a romance, even if it means having to recount every day to Lucy in the hopes of breaking through her gaps in memory. With the help of a video camera and a diary, he might just do the trick, or so he hopes as he resolves to win her each day. Will romance blossom in this unlikely and unusual relationship that is fraught with setback yet filled with hope? You’ll have to watch in order to find out.

Peter Segal directs with a real feel and sweetness, which makes 50 First Dates flow very well. The location of Hawaii is a gorgeous backdrop for the film it must be said and a joy to view.While it still has some hallmarks of what you expect in a film starring Adam Sandler such as a bit of gross out humour and questionable elements , 50 First Dates is a far more gentle affair with warmth and an unexpected depth in parts. Not all of it works but it has a bit more edge than your average romantic comedy and I commend it for that. Plus, you find yourself really caring for the two characters at the heart of it. Sometimes in films of this ilk, the characters can mjst become. Thankfully, 50 First Dates actually delves into these characters and let’s us experience things with them. Hats off to the film for allowing that to happen and not just settling for the same old story. That’s not to say it’s flawless( some supporting characters and parts aren’t that great it has to be stated), but it definitely rises above other movies within the genre. A nice selection of familiar songs , done to a reggae style is also a treat for the viewer.

Adam Sandler is often an actor I can take or leave, but he’s just right here. He dials down on the frat boy antics and stupidity, choosing to okay things with humour but relatively straight. This approach works and it’s one of Sandler’s least irritating performances. Drew Barrymore is the MVP here contributing a genuine, lovely and luscious performance. Barrymore is the possessor of one of the most adorable and sunny dispositions to be put on film and it’s used beautifully here. Rather than just be a sad character, she lets us feel how Lucy is a happy girl slowly realising that romance isn’t easy due to her condition  and her desire to remember is supremely touching and filled with a sense of hope. I think that as a film, 50 First Dates has an ace in the hole in the chemistry between these two that is totally infectious. Rob Schneider has a few laughs as Henry’s stoner friend, but becomes a nuisance as the film progresses. More believable and standing out are Blake Clark and Sean Astin as the concerned father and brother of Lucy. They bounce off one another with humour and character, particularly Astin as a steroid loving wannabe bodybuilder who thinks he’s tough, yet is a long way from that. Kudos to Dan Aykroyd as well for a very good turn as Lucy’s wisecracking doctor. 

So all in all, 50 First Dates is an enjoyably funny, gentle and romance that hugely benefits from the rapport of Adam Sandler and Drew Barrymore and a deftly told story of a different but lovely coupling.

Cast Away

Tags

2000's, Cast Away, Drama, Helen Hunt, Robert Zemeckis, Tom Hanks

A riveting and emotionally investing drama of survival against the odds aided by a stellar Tom Hanks performance at the heart of it, Cast Away definitely sticks in the mind for the right reasons and should be watched by all.

It’s 1995 and Chuck Noland( Tom Hanks) is a time obsessed Fed Ex analyst executive who travels the world and sorts out problems within the delivery company. He’s extremely efficient in his job though it often comes at the cost of seeing his girlfriend Kelly(Helen Hunt) at their home in Memphis. After Christmas dinner, Chuck gets a call that he’s needed in Malaysia. Before departing, he gives Kelly a present of an engagement ring, but tells her not to open it because he’ll be back by New Year’s Eve. Unfortunately things don’t pan out for him as he hoped. A storm hits his plane while travelling across the Pacific and Chuck survives after it crashes, due to finding a lifeboat amid the terrifying chaos of the crash. After floating for a night, Chuck washes up on a deserted island scared and alone with seemingly no form of rescue to speak of. Now the man who was always thinking of time is on a deserted islands with only a few packages that survived the crash to use. All the while, Chuck contends with the future and vacillates between desperation and hope as the island becomes his place of residence in an unthinkable and extraordinary situation. He makes a number of attempts to escape the island, which prove futile at first as he is not what you’d call an expert in the wilderness. Gradually, he manages to think of ways to survive( like fashioning a shelter from one of the packages and its content before taking up residence in a cave) and carry on, even personalising a volleyball which he calls Wilson and speaks to in order to avoid the fact that there is no human life in sight. But if he does manage to return to civilisation with one of his plans, what will await him?

Robert Zemeckis fashions a deeply felt survival drama and saga into something special and attention grabbing throughout. Considering most of the film is Chuck by himself , it doesn’t feel dull, instead emitting a depiction of surviving against the odds and what the human spirit can do. And Zemeckis knows how to keep you glued, which is clearly on show in the intense and striking sequence of the plane going down into the sea. Credit must be given to the script, which while not featuring a bell of a lot of dialogue, manages to chart the journey into becoming someone else and learning to adapt . And some moments of Cast Away are surprising and don’t turn out quite the way you expected, which makes for more interesting viewing. Now I must say that the running time of Cast Away does feel a tad excessive later on, but that shouldn’t take away from the excellent skill on show in the main crux of the story. It seems that when Cast Away comes back to civilisation, despite some moving moments present, it flounders in not quite knowing what to do to satisfy the audience and make the story work. But the majority of this wonderful movie on the island are extremely amazing and not even a few lulls and flaws can detract from this very human story about having to survive the best you can and what isolation can do to a person. It’s both an emotional and physical journey for the protagonist( having much in common with Robinson Crusoe if it was made a bit more contemporary) and we’re with him every step of the way as he discovers how he must live and be in order to make it out alive and back to safety. Moments that could have been laughable such as having Chuck striking up a friendship with a volleyball are instead very moving and fascinating in showing how Chuck’s own mind is eroded throughout his arduous time on the island, coupled with his ingenuity and alternating despair. As Chuck tests things out and little by little learns to adapt to his newfound surroundings, we share his varying feelings. Noticeable throughout is that their is no narration from our main character, which I’ve seen done in films of a similar vein. Plus, the score is very minimal and only really spears in the latter stages of this dramatic story. Instead it’s the sound of the island( the waves, wind, nature )that make up the aural atmosphere and give hints of authenticity instead of shamelessly manipulating our feelings. It also emphasises the feeling of being solitary and having only nature and feelings of uncertainty surrounding you. Plus, the location work is second to none and presented in strange but wonderful glory as a solitary place and one where a man undergoes a transformation 

Tom Hanks is a veritable one man show in a role that deservedly saw him nominated for an Oscar. He goes through a complete journey and makes it feel so honest and moving. Hanks famously lost weight to convey years of being stranded and it shows his dedication, while the fact that he’s on screen virtually by himself let’s him display his immense talent and how he can hold the attention of an audience. He journeys through desperation, inventiveness, resignation, elation, sadness and many other emotions throughout and never misses a beat. All in all, Tom Hanks and his physical as well as emotionally convincing performance are what truly keeps Cast Away a movie to watch. I really can’t imagine anyone else in this role and delivering it so excellently and believably. Helen Hunt, despite limited screen time, provides enough warmth and grace as Chuck’s girlfriend. It’s true she works wonders with a small role that has a big impact. But Cast Away is clearly the showcase for Tom Hanks throughout and what it’ll be chiefly remembered for by the audience watching this movie. 

So lulls aside when it leaves the arduous but extraordinary journey at the centre, Cast Away is handsomely made, incredibly stirring and sublimely acted mostly by the powerful Tom Hanks.

Saw

Tags

2000's, Cary Elwes, Danny Glover, Horror, James Wan, Ken Leung, Leigh Whannell, Michael Emerson, Monica Potter, Saw, Shawnee Smith, Tobin Bell

A horror movie that gave rise to a series of increasingly brutal follow ups, Saw was the benchmark of pushing the envelope yet retaining a story. Shot on a small budget and completed on a quick schedule, director James Wan and writer/ actor Leigh Whannell created a film that was grisly yet very well executed and with more psychological underpinnings than what followed. 

Two strangers, prominent surgeon Dr. Lawrence Gordon(Cary Elwes) and photographer Adam(Leigh Whannell) wake up in an underground bathroom. They are both chained to pipes and between them is a bloodied corpse holding a cassette player and a revolver. Both men seem to have no recollection of how they arrived in this dank, disused place. Soon discovering that the room is filled with clues and objects that may be useful, the two men use the cassette player to listen to the messages left. A gargled voice explains that Lawrence’s wife Allison(Monica Potter)and daughter Diana have been kidnapped and will be killed if Lawrence doesn’t kill Adam by a certain time. Adam is urged to escape, though it seems the only way to do that is to saw off his foot and crawl to hopeful safety. Soon memories start coming back to Lawrence who realises something awful about their predicament. Him and Adam are part of an elaborate and disturbing game set up by The Jigsaw Killer(Tobin Bell). He is a man who puts people who don’t appreciate life in horrifying situations involving torture to see how much they want to survive. As time keeps ticking by, we also witness a former detective named David Tapp(Danny Glover) who had previously runs in with Jigsaw, becoming dangerously obsessed with finding him. Both scenarios promise much in the way of horror and brutality for everyone involved with a killer twist.

Debuting director James Wan made a splash with Saw and its clear to see why. Wan possesses a keen sense of what unnerves the audience and a hold over a gloomy sense of style. Setting the film largely in one location was a great idea that paid off, with the flashbacks setting the scene even further for us in a gradual fashion. The cold,  washed out colour pallet adds to the grimness of Saw; bathing events in an uneasy hue that makes your eyes almost readjust to the bleakness. Certain comparisons can be drawn to Seven, and that’s quite a movie to take influence from. Saw however does it well and has its own twisted agenda going for it, so it is far from a copycat of the masterful aforementioned movie. Though later films would up the gore to excruciating levels, Saw itself is a bit more tame. There is definite gore and much unpleasant imagery to behold( like one unfortunate victim of Jigsaw in a maze of barbed wire), but it’s often shown briefly or in ways that don’t display everything. Take for instance when we see a victim of Jigsaw with a reverse bear trap strapped to her head. Instructed by the madman to retrieve the key to release her from sudden death, she must brutally kill a sedated man and find the object in his stomach. It would have been easy to make it a full on bloodbath, but Wan chooses to speed up footage and only display various parts do that our imagination does the rest of the work and makes us picture the horror. It’s one of many scenes where you see bits of the gore but it’s largely left up to us to visualise what is happening in the story in that particular grisly. 
Once the film opens up in narrative terms, it feels more expansive and puzzling with the history of characters explored after what seemed like such a straightforward premise. Granted the set up is simple but effective, but Wan and Whannell are clearly interested in playing with the formula as well as injecting some pertinent questions on the nature of morality and desperation. Saw isn’t without its flaws( sometimes the script shows that it’s from a novice and a few times things can move too quickly to focus), yet this shouldn’t detract from a creepy as well as horrifying film that knows how to get under your skin. It’s hard to forget the clown like puppet that acts as the terrifying mouthpiece for Jigsaw, uttering the now infamous line “ I want to play a game”. This moment and visual has become synonymous with the film and rightfully so as it’s chilling. One of the best elements in Saw is the score from Charlie Clouser. It has an industrial influence that hums away with an electronic pulse that underscores the mounting terror of the film. 

Cary Elwes and Leigh Whannell head the movie as the imprisoned men. Elwes is all trying to remain calm under pressure with a seemingly sensible and arrogantly strait-laced head before really cracking up, while Whannell in an early acting role is the more showy and in your face, never seen that still for long. Occasionally both actors go a little overboard( especially Whannell in a few stretches), but what still remains is good acting as we buy into the shared terror between them that can’t be denied. Sure no Oscars are coming their way for this, but they are acceptably good in their given parts and sell a lot of the horror we witness. They must be commended for holding our attention as the people who are basically on screen the most from start to finish. 
Danny Glover is suitably intense as the obsessed and verging on full breakdown former detective who provides the other half of the story and an axe to grind with Jigsaw. Ken Leung provides more backstory to the case as Glover’s parter in investigation and the two work well off each other. Michael Emerson, with his large eyes and uneasy demeanour, has us on edge with his delivery of a man caught him the game but not in the way you might think. Monica Potter on the other hand is just required to be terrified and not much else, as her character doesn’t have much in the way of development. Props must be given to Shawnee Smith for her one scene that truly traumatises; the reverse bear trap one where most of her acting is through her eyes and they evoke such a feeling of desperation and visceral pain it’s astounding. Despite limited screen time and mainly just the use of his voice, Tobin Bell creates one of horror’s most memorable villains in Jigsaw. That voice will send unending shivers down your spine and it’s down to that and Bell’s embracing of the twisted philosophy of the character that you buy into it.

A creepy and nail biting horror that is both stomach churning and psychological, Saw is a definite recommendation for horror fans out there. 

Session 9

Tags

2000's, Brad Anderson, Brendan Sexton III, David Caruso, Horror, Josh Lucas, Peter Mullan, Psychological Horror, Session 9, Stephen Gevedon

A very unnerving and underrated psychological horror film, Session 9 knows how to chill the audience and craft a compelling story populated by flawed yet fascinating characters.

Gordon Fleming( Peter Mullan) is the owner of an asbestos removal company who is having a rough time of things. He’s recently become a father but doesn’t seem entirely thrilled at this and his relationship with his wife seems more than a little strained. In a desperate need for money to support himself as he starts to become a bit unglued in life, he takes on the job of cleaning out a now uninhabited former mental asylum. Gordon, who is known for his cool efficiency, promises to complete the vast job in just a week. This is despite the fact that the job is actually one that should take a number of weeks. He brings along good friend and resident intense bossy boots Phil,( David Caruso), nasty mouthed and greedy Hank, knowledgable law school drop out Mike (Stephen Gevedon) and Gordon’s green nephew Jeff( Brendan Sexton III) , who has a fear of the dark. Each of them is wrestling with something( a big bone of contention is the fact that Phil’s ex girlfriend is now with the cocky Hank) but decide to just get the job done as quickly as possibly. Unfortunately, that isn’t going to happen as something sinister takes over the asylum As the week goes on, tensions begin to rise between the men as the former asylum begins to take a dangerous hold over them. Gordon in particular comes under immense anguish as his already tenuous situation and anxieties manifest, along with the rest of the crew. In parallel, Mike discovers an old room in the vast building that house cassette tapes of psychiatric evaluations with a former patient named Mary Hobbes. We hear that she has multiple personalities and that something horrifying happened years ago. Mike becomes obsessed with listening to the nine tapes that slowly peel back the horror of the asylum. As we witness the fraying of relationships, darkness and all manner of horror descend on the feuding group and puts them in grave danger, in particular a close to breaking point Gordon.

Brad Anderson is fantastic in the directors chair; he clearly knows how to unsettle without being too in your face and his focus on character development is to be admired. His skills in forming a mystery that takes you along with it while scaring you in sophisticated ways is to be praised too. The running discovery of psychiatric session tapes that bleed into the present and often accompany shots of the crew are mesmerising and keep you glued. Session 9 is a horror movie that has only a couple of grisly moments; Anderson instead discovers fear and shock through the unexplained and mystery surrounding events in true psychological horror style. As I’ve often said in regards to effective horror, you don’t need gallons of blood to scare an audience, just an eerie idea executed to a great level of suspense can do it. And Session 9 more than does that with its chills getting more intense as things progress. 

It’s in the characters, atmosphere and script that Session 9 derives it’s scares with its delving into psychological animosity between the men and how they unravel my a gradually more terrifying series of events. The seething anger, resentments and bruised egos all come through as these men struggle to accept their vulnerable state by using bravado but failing to fully comprehend the horror ahead. An intriguing comparison can be made between the toxic nature of their job in cleaning asbestos and the toxic masculinity that they each exhibit in one form or another. The use of titles to signify the week going along  And one can’t speak of Session 9 without mentioning its location which is in actual fact a real life mental asylum by the name of Danvers State Mental Hospital that is not in use but nonetheless adds to the creepy dimension of the piece. It’s large, looming stature and the effective way that a lot of it is shot in the daytime to further emphasise uneasiness. As the bright light streams through the old windows, it feels very chilling and a reverse of the usual all bad things happen in the dark adage. Granted, scary things do happen in the dark in Session 9( watch as poor Jeff who has a fear of the dark has to run for his life , but the overall consistency of the ambience in daylight really does amazing things for this movie. And it really gets you thinking once you know that the location is in fact a real place where unspeakable things in less enlightened times happened and digs deep under the skin of the viewer. The dissonant, mood-setting score aids the spooky and deeply creepy exercise in terror with the fleeting of a piano and ominous punctuation highlighting the creep actor and raising it considerably.

The relatively small cast is exceptional at displaying the slowly unravelling minds of the characters. Peter Mullan is the big standout with an immensely convincing and harrowing performance as a man on the edge. Mullan possesses a face that speaks volumes about life and experience and that perfectly suits the role of Gordon. You can practically feel his world starting to fall apart and his futile attempts to prove he’s strong shattering as darkness descends on him. It’s a truly excellent piece of acting from the ever dependable Mullan. David Caruso also is memorable as the second in command who bristles with belligerence and a sense of entitled authority. He’s often at odds with the other characters which adds even more to the drama in Session 9. Josh Lucas relishes playing the cocky and sneaky worker who can’t resist rubbing up people the wrong way, while having a get out plan when times get tough. Stephen Gevedon, who is a co-writer along with Brad Anderson, imbues his role with smarts and deep curiosity, while Brendan Sexton III portrays the most inexperienced member of the group with a childlike want to please and be part of something that eventually becomes toxic.

Very spooky and deeply unsettling, with a great emphasis on characters, Session 9 is an underrated psychological horror you simply must watch.

Xena: Warrior Princess Season 5

Tags

1990's, 2000's, Adrienne Wilkinson, Hudson Leick, Jennifer Sky, Kevin Smith, Lucy Lawless, Paris Jefferson, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 5

After the startling finale of Season 4, Xena swings back into action with its fifth Season, that stands as my second favourite after the iconic Season 3. It’s epic, enjoyable and has almost everything you’d want from the show. Be warned, spoilers may well follow in this overview of the penultimate season.

We pick up as Xena( Lucy Lawless) and Gabrielle( Renée O’Connor) are ascending into heaven following their brutal crucifixion. Following a battle between demons and angels, the two are restored to life by healer Eli . Joxer( Ted Raimi) once more joins them and finally tells Gabrielle his true feelings, which leads to a certain awkwardness between them but once more eases to friendship again. At first, following resurrection, Xena is not herself at all. The memories of being a warlord and her skill in battle are gone. Luckily, once creating a new and improved Chakram that links almost telepathically to her, Xena is back to herself again. Many changes, however, await her back in the land of the living. Chief among these is the fact that she discovers she is pregnant but hasn’t been with anyone in an intimate capacity. Xena still fights when the occasion arises, yet Gabrielle, who herself has honed her fighting skills and ditched the way of peace, is the one who takes up arms more readily this time around. We also have Ares(Kevin Smith) on the prowl, trying to get Xena on side by attempting to sway Gabrielle and those around her. This locks them all in a battle of wills as Ares is a difficult guy to resist, though for once he does seem to be quite genuine in his feelings for Xena. Once Xena gives birth to a daughter named Eve, all matter of evil seems fixated on it. This is because of the prophecy regarding ‘The Twilight of the Gods’; a time when humans will grow tired of Gods and will rise up causing those who have supernatural power to lose such abilities. It happens to Zeus, which angers other Gods who will stop at nothing to rid the earth of this child and sets in motion the aforementioned Twilight. Although Xena attempts to protect Eve, she knows that the God’s won’t give up in their search. With help from allies, she, Gabrielle and trick the God’s into believing they are dead, while Eve is placed in safety. What they hadn’t counted on was Ares really believing them and thinking he has lost Xens, he freezes their bodies. Awakening 25 years later, the duo find things have changed. Joxer is now near elderly and even has a skilled fighter son named Virgil(William Gregory Lee), plus the terror Rome has been through Greece. To Xena’s shock, her daughter has grown up to be a vicious warrior who goes by the name of Livia( Adrienne Wilkinson), and kills indiscriminately like Xena in her brutal past. The big question is can Xena and Gabrielle help reform Livia back into Eve before it’s too late and any more devastation can hit?

At this point in the series, I think producers knew exactly what they were doing and how to do it with a lot of confidence. Not that they didn’t know what they were doing before, I simply mean that obviously after a few years working on a show the formula is definitely set up and ready to fire on all cylinders. And once more we are given excitement, adventure along with depth, humour and character, which can’t be faulted and display the creative efforts of many at some of their finest. These are all things fans know and love the show for and in its penultimate series, it supplies them with this assortment of qualities. The music from the very talented Joseph LoDuca is again a high point . Although for the first half Xena doesn’t fight as much as usual(owing to the character’s pregnancy and the fact that Lucy Lawless was pregnant in real life too), it helps establish how much Gabrielle has learned throughout her travels and aids episodes that are Xena-lite. It compliments both, though it’s a kick to see Xena get back to fighting once more following the birth of her daughter. Season 5 is not flawless but the vast majority of it makes it a favourite of mine along with the aforementioned third season. Like that season, this one just has so much good in it that it’s essential viewing for quality and the atmosphere. The only real flaw is the role of Amarice, a scrappy Amazon who is actually lying that was seen late last season. She travels with the group but I just feel like she’s pretty superfluous to the stories and not really that interesting. Jennifer Sky does her best, but the character is rather forgettable. And some episodes in the middle area feel a bit like filler but are at least redeemed by the main bulk of successful episodes that showcase Xena at some of its most fun and darkly epic.

We open with the sensational “Fallen Angel”, which gets Season 5 off to a flying start. As Xena and Gabrielle arrive in heaven, a battle between angels and demons headed by Callisto. Gabrielle is pulled to hell, while Xena ascends. Soon the switching of roles and possibility of redemption and resurrection appears. The settings of heaven and hell are excellent as are the scores of angels, some very skilled in fighting and the vicious demons with their bloodthirsty intent engaging in intense battles. The episode looks fantastic with the sets for heaven and hell really standing out and backing up the themes at work. Xena transfers her light to Callisto( Hudson Leick signing off in emotional style) in order to save Gabrielle, making Callisto a newly born angel and restoring the good that would have been there if they’d never crossed paths. Its a sublime opening episode that contains action, heart and imagination which are all touchstones of the show. We finish with healer Eli, with the unbeknownst to him help from reformed Callisto, bringing Xena and Gabrielle back to life. Guilt, redemption and vengeance are the starting blocks and go to themes that are always explored well, and they help kick this season off with a bang and a promise of what’s more to come. Another zinger comes courtesy of tongue in cheek “Animal Attraction” with its anachronistic western references and the various facets of love playing out. In it, Xena journeys to help an old friend locked in a battle with her sheriff like ex. Funniest is Xena stopping bickering by announcing her pregnancy, much to the surprise of everyone. The spirit of the villainous Alti returns in ‘Them Bones, Them Bones’. Here she is attempting to corrupt Xena’s unborn child snd bring it into the darkness. With trippy angles and striking imagery of bloodstreams, animals, and lights, it’s a visual feast. Plus. there’s nice tipping of the hat to Jason and the Argonauts, with Xena and Alti’s spirits doing battle as reanimated statues. to I am a sucker for stuff like this and a returning Alti is once more a compelling villain who is devious and a worthy adversary for Xena.

A big emotional and important episode is found in  ‘Seeds of Faith’ .Peace preaching Eli tries to rally the people into waging a war of love against the Gods. Ares doesn’t take kindly to this and Eli dies a martyr at the hands of Ares, prompting consternation between everyone of whether his death meant anything or not. Watching the various reactions to his death is fascinating as everyone is wrestling with different paths of life and which way is correct, sublimely realised and displayed. As an audience, we do finally hear of the impending ‘Twilight of the Gods’ which enlivens events and sets the stage for much more drama. And crucially we finally learn how Xena’s pregnancy came into motion with the now reformed Callisto explaining that she is to be reincarnated and that she chose Xena to be the one who carries her spirit. It’s her way of giving something back to her old nemesis and at this point both women are even and have achieved redemption and atonement for their actions against the other. It is emotional and thrilling to watch. A big standout of an episode in a season thats by and large stacked with quality. Then we have “Lyre, Lyre, Hearts on Fire”, a lively musical episode that stands out and isn’t a carbon copy of ‘The Bitter Suite’ in Season 3. We find Xena, Gabrielle and Joxer out to stop a war brewing over who gets possession of an incredibly powerful lyre. To quell any fighting or further violence, Xena organises a battle of the bands to see who’ll claim it. The addition of modern songs in an old setting is rather inspired and the anachronistic instances are a real hoot. There’s also the sensational and scintillating “Amphipolis Under Siege”, which is one of my favourite episodes so far. It blends drama, crafty action and twisty turns that make it a special treat. In it, the goddess of war Athena( played very well and with an unnerving poise by Paris Jefferson ). It must be said that Athena isn’t completely without heart, she respects Xena yet knows that in order to preserve the Gods she must carry out a heinous act. Anyhow, she mounts a siege around Xena’s hometown, the villagers however are rallied to protect Baby Eve. Twists and turns abound as Xena goes into battle against Athena, with each showing just how skilful they are in the art of manipulation. Ares thinks he has Xena onside but he’s ultimately used by Xena and Gabrielle, much to his chagrin developed what seems to be genuine feelings for the warrior.  I particularly enjoyed seeing how well Xena and Gabrielle played everyone to perfection to protect Eve. The battles are exceptional choreographed and exciting( as is Xena running from flames in an inspired shot)and the personal drama of Xena, plus backup, doing anything for Eve is very involving. Plus, you have to watch carefully to see if you’ve uncovered the subterfuge used which is always quite fun in my book and it’s sneakily done. In short, a fantastic episode that’s fast moving yet still makes time for story, in the show and how on my favourites list. Then there is a sensational run of episodes that are simply dazzling and surprising, chief among these ‘Looking Death in the Eye” “Eve” and “Motherhood” . In ‘Looking Death in the Eye’, a visibly aged Joxer narrates the last adventure of Xena and Gabrielle, before their ‘deaths’. This framing device is suitably intriguing and leads to many twists as the dynamic duo fool the God’s but find themselves inadvertently setting in motion something even more startling. We discover events little by little in a fantastically staged episode that really sets the scene for what’s to come and throws up some cool surprises for the viewer. In ‘Eve’, Xena is in pursuit of her daughter after revealing her identity to her. It’s interesting to watch as it’s a flip of the situation with Hope and Gabrielle claiming she was just an innocent child, the only difference being it is now Xena in the hot seat having to contend with knowledge that her child has grown up to be a murderer. What really shocks is the slaying of Joxer by Livia/Eve’s hands, which genuinely shocks as he does diein bravery thought obviously weakened by age. And who can forget the finale of ‘Motherhood!‘, truly extraordinary and exhilarating viewing as the Twilight begins and Xena takes on the almighty Gods of Olympus.

Our main cast is once more on sensational form having truly grown and shaped their roles, it’s hard to picture any of them being played by anyone better. Lucy Lawless, of intense, blue eyes and oodles of appeal is on hand as the eponymous warrior atoning for her past crimes. She also has the strength and protective love of the character as she becomes a mother who can also kick ass when it’s needed. Xena is a woman of many facets, from tough, sarcastic fighter to smart, emotional woman who is flawed but likeable. You can’t ask for anyone better at getting across all these different angles to Xena than Lucy Lawless. She is Xena, it’s as simple as that. The same can be said of Renée O’Connor, who has charted the journey of Gabrielle from tag along to powerhouse assailant with a heart. Renée O’Connor clearly relishes getting to show more physicality than ever in the part yet keeping hold of a decent enough worldview. She’s more steely and ready to do what needs to be done with a dash of cynicism, while not completely forgetting her depth and understanding. Lawless and O’Connor once more bounce off each other with great ease and conviction. Although his character is often divisive among the show’s fandom, Joxer makes his mark again for the last time courtesy of Ted Raimi. He gives the character both humour and immense depth that we really feel sad when he meets his end. Despite arriving late in the season, Adrienne Wilkinson makes an impact. Playing Livia/Eve, she is handed the difficult task of essentially playing two disparate characters in a short period of time. Thankfully, she rises to the occasion and displays both a vicious cunning and a redemptive desire in her run of episodes, balancing between both personas wonderfully. Kevin Smith does some of his finest work here, shading Ares with a deep brooding and what seems like a genuine love for Xena. It’s nice seeing that he actually appears to care, rather than just the bravado he puts across as the God of War. William Gregory Lee portrays the son of Joxer as someone more skilled than their father but with a similar temperament and humour to match fighting skills. I’m interested to see the development of the newer characters on here, particularly Eve.

Below are my episode rankings:

1. Fallen Angel – A+
2. Chakram -B+
3. Succession – B-
4. Animal Attraction – A
5. Them Bones, Them Bones -A
6. Purity – B
7. Back in the Bottle – C
8. Little Problems – D-
9. Seeds of Faith – A+
10. Lyre, Lyre, Hearts on Fire – A
11. Punch Lines – B
12. God Fearing Child – B+
13. Eternal Bonds – B+
14. Amphipolis Under Siege – A+
15. Married with Fishsticks – D-
16. Lifeblood – B
17. Kindred Spirits – B
18. Antony and Cleopatra – A
19. Looking Death in the Eye – A+
20. Livia – A
21. Eve – A+
22. Motherhood – A+

Season 5 is a sensational penultimate season of Xena that boasts some of the best the show has to offer, I’m mightily satisfied and looking forward to the last season that awaits me.