So you want to make “it” as a hot young movie reviewer? Then why not try following these ten easy steps…
1. Do not just recount the plot of the film
A surprising number of wannabe critics fall into the trap of simply retelling exactly what they have just seen, perhaps to show that they have at least watched the darned thing and understood it. But while a short summary of the early stages of the film is actually not a bad way to start, generally speaking, you should try to break off before any major plot twists start happening. The use of the phrase “spoiler alert” should not be necessary in any decent film review. Unless it’s the title of the movie.
2. Be a protractor: find the right angle…
Whether you want to begin with a summary of the premise or not, at some point you’re going to need some sort of angle to begin from. In the case of the James Bond film Spectre, for example, you could try one of the following…
Historical: “It has now been 53 years since James Bond first appeared on our screens…”
Daniel Craig: “This is Daniel Craig’s fourth outing as the world’s favourite secret agent, matching Pierce Brosnan’s total, ahead of both Dalton (two) and Lazenby (one) but still way behind Connery and Moore (seven apiece)…”
Bold expression of opinion: “First, the bad news: Sam Smith’s new Bond theme is rubbish.”
Comical misunderstanding: “Fear not! It may be Halloween, but despite its title, Spectre is not a horror film.”
Of course, an opening line is not enough in itself. You need to be able to back up your arguments.
3. End as you begin…
Although not essential, a good clever trick is to return in your closing sentence to the subject you brought up in the opening one. So using the above lines you could go with…
“On this evidence, the Bond franchise is good for another fifty years yet.”
“Perhaps then, as with Brosnan or, if you prefer, Steve Guttenberg on the Police Academy films), Craig’s fourth Bond film should also be his last.”
“Thankfully, unlike Sam Smith’s banshee-like caterwauling – I counted no less than four cats leaving the cinema during the title sequence alone – Spectre is an unalloyed delight.”
“On reflection, perhaps Spectre is a horror film after all. Spectre? Sphincter, more like.” (Actually, perhaps don’t do this one).
4. Avoid cliche
The Bond franchise is quite vulnerable to this sort of guff: “a film that’s guaranteed to leave you shaken, not stirred” (what does this even mean?) “Bond proves once again that he has a licence to thrill”, “out of 8, I score Spectre: 007.” And so on. Avoid.
5. Do not overdo the waffle
A bit of preamble is good but don’t overdo it.As McFly famously did not sing “It’s Not All About You”. Surprisingly, some people might actually want to hear about the film at some point.
6. Read other reviews
Try Googling “Chris Hallam reviews” or better still, “movie reviews” generally and read the results. Other than writing reviews yourself and perhaps watching films, reading professional reviews is the best tutorship you can receive. Other than actually being tutored by a professional critic obviously. Reviews of films can also often be found in those weird papery version of the internet you can get now: books and magazines.
7. Consider your goals: who is reading your review and why?
There is no need to disappear up your own arse about this but you should bear in mind your audience and what they want. My view is that they want to know a bit about the film while also being briefly entertained. These are the seven golden rules if you want to make “it” as a hot young film reviewer. Good luck!
Alan Moore is the undisputed bearded Northampton-based God of the British comics realm. Yet he has been notoriously prickly on the subject of adaptations of his own work. He has declined to even watch any of the four major films directly based on his comics and in recent years has in recent years refused any payment. But is he right to do so? Is The Watchmen really in the same League as the Extraordinary Gentlemen? Is the film of V From Vendetta really From Hell? Chris Hallam checks it out…
In 1977, Alan Moore, then a twenty-four-year old employee of the Northampton gas board decided to quit his job and try to pursue a career as a comic writer instead. The timing, to some, might have seemed odd. Moore was not rich and was married with a baby on the way. But for Moore it was a “now or never” moment: “I knew that if I didn’t give up the job” (which he hated) “and make some sort of stab at an artistic career before the baby was born that…I knew I wouldn’t have been up for it once I had those big imploring eyes staring up at me,” he said later. “So, I quit.”
The gamble paid off. First, it was just a few cartoons in heavy metal magazines and the odd Tharg’s Futureshock for the new science fiction comic 2000AD. But then the trickle turned into a flood. Soon came V For Vendetta in Warrior, The Ballad of Halo Jones and then, amongst many other things, Watchmen, perhaps the most acclaimed graphic novel ever made. Alan Moore was perhaps the biggest name in British comics to emerge in the Eighties.
Soon inevitably people began to talk of filming his works and Moore was initially keen enough. A film, Return of the Swamp Thing (1989), based on a DC strip by Moore was filmed. But early plans for a V For Vendetta TV series and a film of Watchmen faltered. The timing was not yet right.
But by the start of the 21st century, following the success of Blade and The X-Men, filmmakers began filming every comic they could get their hands on: Road To Perdition, Ghost World, A History of Violence and TV’s The Walking Dead have all been consequences of this trend.
But the four attempts to film Alan Moore’s works in the first decade of the millennium had somewhat mixed results. And they would not make their creator happy at all.
“The idea that there is something prestigious about having your work made into a film, that is something which infuriates me because it seems to be something that everybody else in the industry absolutely believes.” Alan Moore.
A Ripping Yarn?
The comic: From Hell (1989-1996) produced with illustrator Eddie Campbell.
The film: From Hell (2001) directed by the Hughes Brothers and starring Jonny Depp, Heather Graham, Jason Flemying, Ian Holm, Robbie Coltrane, Sir Ian Richardson.
Moore’s take on the notorious Jack the Ripper case is probably one of Moore’s less accessible stories. At one point, for example, it draws a rather strange connection between the 1888 Whitechapel murders and the conception of Adolf Hitler in Austria-Hungary, two events which admittedly must have occurred at about the same time. From Hell thus seemed rather an odd choice for the big screen treatment.
The Hughes’ Brothers broke with the original story early on choosing to make the story a whodunnit (something Moore had gone out of his way to avoid doing) and by viewing it from the perspective of Inspector Abberline (Johnny Depp’s performance virtually identical to his turn as Ichabod Crane in Tim Burton’s Sleepy Hollow in 1999), rather than from the viewpoint of the Ripper himself, who in the graphic novel is identified early on as Sir William Gull (Ian Holm).
As Moore’s biographer Lance Parkin has written, Moore’s approach to his films was more one of indifference than outright hostility at this stage. He accepted payment for the film and was apparently pleased by the casting of actress Heather Graham as she had had a small part in one of his favourite TV series, Twin Peaks. But having recognized it was not going to be very similar to the original story early on, Moore distanced himself from the film and has never bothered to watch it.
“I’d be quite happy if they made Carry On Ripping. It’s not my book, it’s their film.” Moore’s verdict is correct. From Hell is a silly over the top film full of clichés and bad acting.
A League Of Their Own?
“Mr. Alan Moore, author and former circus exhibit (as ‘The What-Is-It from Borneo’), is chiefly famed for his chapbooks produced with the younger reader in mind. He astounded the Penny Dreadful world with such noted pamphlets as ‘A Child’s Garden of Venereal Horrors’ (1864), and ‘Cocaine and Rowing: The Sure way to Health’ (1872) before inheriting a Cumbrian jute mill and, in 1904, expiring of Scorn.”Author description of The League of Extraordinary Gentlemen (illustrated by Kevin O’Neill, 1999-2007).
The film: Directed by Stephen Norrington (2003) this starred Sir Sean Connery, Shane West, Jason Flemyng, Peta Wilson and Stuart Townsend.
In print: Not to be confused with the 1960 classic British movie crime caper starring Jack Hawkins or the early 21st century Royston Vasey-based dark BBC comedy series (both actually just called The League of Gentlemen), this witty Victorian pastiche was reportedly optioned before artist Kevin O’Neill had even finished drawing the first issue. Bringing together the cream of Victorian fiction – Captain Nemo, the Invisible Man, Allan Quatermain and Jekyll and Hyde amongst others – into a formidable superhero-style team, this should have been perfect for the big screen. In theory…
On screen: A commercial success, LXG (as some promotions referred to it) was an unruly disaster and probably the worst Moore adaptation yet made. Minor changes were made such as the introduction of characters Tom Sawyer and Dorian Gray to the line-up (there were also issues affecting the copyright of the Invisible Man’s character: in the end “an” rather than “the” invisible man appeared). But these seemed unimportant next to the fact the film as a whole, was a complete travesty of the original. It was also a notoriously bad shoot with Sir Sean Connery (playing King Solomon’s Mines star Quatermain) falling out with director Stephen “Blade” Norrington. According to some reports, the two men came to blows. Connery, a screen legend then in his seventies, vowed never to be in a film again. He never has. Norrington has never directed any films since either.
Moore’s view: Worse was to come as a lawsuit was brought against the film alleging it had plagiarized another script called Cast Of Characters. Moore, who had never wanted the film anyway was cross questioned for hours based on the suggestion that he had only written the comic as a front to disguise the film’s supposed unoriginality. The case was settled out of court but in the meantime Moore was understandably very annoyed indeed.
Verdict: A film already apparently guilty of the crime of ending Sean Connery’s long film career, The League of Extraordinary Gentlemen also turned Alan Moore off film versions of his comics forever. Not that he was ever exactly super keen anyway…
The comic: V For Vendetta (1982-1989), art by David Lloyd (and Tony Weare).
The film: 2006 film directed by James McTeigue, written by the Wachowskis and starring Natalie Portman, Hugo Weaving, Stephen Fry and the late John Hurt amongst others.
A chilling portrait of a futuristic Britain that has succumbed to fascism after a limited nuclear war has destroyed much of the rest of the world, the “hero” (if hero, he be) is V, a mysterious masked Jacobin vigilante prone to speaking in strange verse, nasty practical jokes and setting up impressive and time-consuming domino displays for his own amusement. But who exactly is he? And can he save young Evey Hammond from the dark forces which threaten to engulf her?
One big problem with filming V For Vendetta was the story’s obsession with the concept of November 5th. Virtually everyone outside the UK is unfamiliar with Guy Fawkes and the Gunpowder Plot and so a short sequence explaining the idea was added for the benefit of our American cousins. The nuclear war of the original is replaced by a backstory involving a devastating epidemic but generally the film is surprisingly faithful to the original. This is, after all, a film in which the hero is a terrorist who blows up underground trains which was released only a few months after the July 2005 bombings. In short, some bits don’t work that well – V’s strange rhetoric doesn’t always work on screen and the Benny Hill like sequences in the TV show seem a bit odd. Other elements such as Stephen Rea’s performance as an investigating officer and the near perfect recreation of the powerful ‘Valerie’ sequence from the comic, work brilliantly.
Moore’s view: Although artist David Lloyd enthusiastically endorsed the film, Moore disassociated himself entirely even went going so far as getting his own name removed from the credits. He also expressed anger (apparently still without having seen it) that the Wachowskis had used his story to (he argued) satirize Bush era America, rather than maintaining the Thatcher-era anti-fascist perspective of the original.
Verdict: Although not a complete triumph by any means, V For Vendetta was reasonably well received by most audiences and critics. It’s certainly interesting enough that you can’t help wishing Moore would lift-up his own self-imposed mask for a moment and take a sneaky peak at it.
The comic: Moore’s masterpiece completed with artist Dave Gibbons between 1986 and 1987.
The film was directed by Zach Snyder in 2009 starred Billy Crudup, Patrick Wilson, Matthew Goode and Jeffery Dean Morgan.
Summary: A brilliant and complex saga which transformed the world of comics forever, The Watchman incorporates superheroes, pirates, nuclear apocalypse and an all-powerful blue man who likes sitting around in space.
On screen: After a fan-pleasing, superbly made title sequence in which we get to see such sights as Dr. Manhattan meeting President Kennedy (before The Comedian, played by Jeffery Dean Morgan helps assassinate him), this does a largely faithful job of translating Moore’s vision to the big screen. It’s not perfect: Matthew Goode’s Ozymandias is a bit too obviously villainous from the outset and many other scenes seem unnecessarily violent. But some sequences– the creation of Dr. Manhattan, for example – are, like the Valerie sequence in V For Vendetta – transferred perfectly from the comic. Dean Morgan is especially well cast as the ultra-conservative Comedian, a man who despite no obvious super powers, successfully wins the Vietnam War for the US, kills JFK, and prevents the Watergate Scandal from happening. The three-and-a-half-hour DVD extended version even incorporates animated Tales of the Black Freighter sequences into the film, pirate stories which even somewhat overwhelmed the narrative in the original comic.
Some viewers might be left wondering: would deliberately unleashing a sudden massive unexplained explosion really would be the best way to defuse a Cold War superpower stand-off. They might also ask: Did Richard Nixon really look like that? Or if Dr. Manhattan is genuinely quite annoying. But hey! These are mostly failings of the comic, not the film.
Moore’s view: Terry Gilliam had originally planned to direct The Watchmen in the Eighties with Arnold Schwarzenegger tipped to play Dr. Manhattan, Robin Williams, the sinister Rorschach, Jamie Lee Curtis the Silk Specter and Richard Gere, Nite Owl. Gilliam was ultimately unhappy with Sam Hamm’s script which saw Ozymandias travelling back in time to prevent Dr. Manhattan’s creation, thus changing the course of the Cold War and ultimately saving the world. The project fell apart. Twenty years later, it was resurrected, by which time Moore was dead against it.
Verdict: Probably the best film adapted from Moore’s works. A shame he hasn’t seen it really. He’s not alone though: although not an outright flop, The Watchman disappointed at the box office.
Faith No Moore
The Watchmen did not mark the end of TV and movie versions of Alan Moore’s comic stories. We haven’t even mentioned Constantine (2005) starring Keanu Reeves and future Oscar winners Rachel Weitz and Tilda Swinton which was based on a character Moore had created for DC. The reasonably well-received film spawned a short-lived TV series starring Matt Ryan and will soon appear in animated TV form. There is talk of rebooting The League of Extraordinary Gentlemen and a TV series of The Watchmen is in development.
Perhaps most significantly The Killing Joke, an animated film version of Moore’s celebrated Batman story produced with Brian Boland in 1988 was released in 2016. Reviews were bad.
Whatever, we may think of the movie and TV versions of the works of Alan Moore, however, one thing is clear: forty years after he started to build a career in comics, he is powerless to stop other people making films of his work.
I saw one of these at the cinema in 1987. I have seen nine of them now.
Beverly Hills Cop II
The Living Daylights
3 Men and a Baby
Good Morning Vietnam
The Living Daylights was the first of Timothy Dalton’s two outings as 007. Dalton is not usually considered to have been the best Bond by most fans and nobody seems to consider this to have been the best James Bond film. I am not a big Bond fan and maybe it was the novelty of seeing the character on the big screen for the first time. But I’m sure I have never enjoyed any James Bond film as much as when I saw this as an excited ten-year-old. I was consistently entertained throughout. The bit where he hangs off the back of a plane. The beautiful blonde cellist. The chase through the snow. I loved it.
Sadly, Dalton’s next outing as Bond, Licence to Kill flopped, perhaps in part because it was given a ’15’ certificate preventing twelve-year-olds like me from seeing it. The first ’12’ certificate film, Tim Burton’s Batman was released a week after Licence to Kill in August 1989, which presumably didn’t help. Dalton was dropped and the franchise was ‘rested’ for five years as filmmakers contemplated how to respond to the end of the Cold War and films like Die Hard driving up budgetary expectations.
Another reason for Licence to Kill’s failure? Unlike The Living Daylights, it was rubbish.
The Living Daylights didn’t actually make the U.S top ten, so am pleased I got a list for the global 1987 box office here. Aside from that and one other film, I’m pretty sure I saw all the other films on either video or TV by the end of the 1990s, the decade where I truly became a film buff.
The Lethal Weapon and Beverly Hills Cop franchises never impressed me much and Fatal Attraction (directed by Adrian Lyne, who like me, was born in Peterborough) always seems a bit overrated, perhaps because of the famous bunny boiler sequence. Presumed Innocent was better. I liked Moonstruck when I saw it. Cher’s in it. John Mahoney crops up in it too. What was it about? I’ve no idea now. Is Nicholas Cage in it too?
The Untouchables is a mixed bag. On the one hand, there are a number of memorable sequences: De Niro and the baseball bat, the exploding suitcase girl, Costner pushing the guy off the roof (“he’s in the car”) and the copied Odessa Steps gunfight. Connery’s ‘Irish’ accent is all over the place though. He basically won an Oscar because he was shot about a million times and still took an hour to die.
I quite liked Dirty Dancing (the film I mean, not the activity). When I was about 18, it seemed to be every girl’s favourite film.
A friend showed me all the violent bits of Predator on video. I hadn’t asked him to. This came in handy when I later saw the heavily censored version on ITV. It’s a classic sci-fi. Good Morning Vietnam also made an impact.
I’ve never seen 3 Men and a Baby. I suspect I never will now. I don’t think I’ve missed much. For a while rumours circulated that a ‘real-life’ ghost appears briefly in one scene of this comedy, supposedly a boy who died in the apartment where the movie was filmed. Stills of the supposed phantom apparently standing in the background and ‘looking’ towards the camera do genuinely look quite creepy. Some have claimed the rumours were deliberately encouraged to boost sales and rentals of the video on its release in 1990.
Slowly, the truth emerged. The ‘boy’ was revealed to have been a cardboard cut-out of Ted Danson’s character (dressed in a top hat and tails) which had been left in the background after being used in a scene which was subsequently deleted. Danson’s character in the film was apparently an actor and the cut-out would have been related to a commercial the character was filming. Director Leonard ‘Mr Spock’ Nimoy seems not to have noticed the prop was still in shot, or at least was unable to remove it for whatever reason.
An odd explanation? Perhaps, yet still more plausible than the alternative, especially when you remember ghosts don’t actually exist in real life. Also, no boys died in the apartment. There wasn’t even an apartment. The film’s ‘apartment’ scenes were not even filmed in an apartment at all but on a sound stage.
I saw none of these at the cinema then. I have seen 7 since.
Top Gun (watched on TV in 1990. Flying scenes ace. The rest is rubbish).
Crocodile Dundee (video in 1980s. Seemed fun then. Now seems offensive).
Platoon (saw in 90s Excellent but grim)
The Karate Kid Part II (Never seen)
Star Trek IV; The Voyage Home (saw in 90s. Fun)
Back To School (Never seen. Straight to video in UK)
Aliens (saw in 90s. Excellent)
The Golden Child (Never seen)
Ruthless People (saw in 90s? Unmemorable)
Ferris Bueller’s Day Off (saw in 90s. Quite enjoyed)
The Transformers were the dominant toy craze of my childhood. At least, they were for boys.
There were other toys, yes: He-Man, MASK, Thundercats, Action Force and Zoids. But nothing else came close to the robots in disguise from Cybertron.
It was a different era. Who needed Amazon Prime when you had Optimus Prime? Need a villain? Forget Meghan Markle, try Megatron! Suffering from heartburn? Check out Galvatron! Instead of…er…Galviscon. Well, you get the general idea anyway.
I was fully sold. I got two Transformers Choose Your Own Adventure books. I replaced The Muppets lunchbox I’d had since Infants’ School with a new one featuring Optimus Prime. The Marvel UK TF comic joined Whizzer and Chips, The Beano, Buster and Oink! amongst my regular reads. I collected the Transformers’ Panini sticker collection and once got a very nearly complete album in exchange for a Whoopee cushion I’d brought to school. This was a real bargain: my friend burst the cushion later that day anyway. But I did get a mild telling off as the cushion had been given to me as a present. I shouldn’t have swapped it. It now seems odd I was allowed to take it to school.
We were given the opportunity to write stories for a special school storybook that year. I was regarded as one of the best storywriters in school but of all the topics in the world, I chose to write one about the Transformers. A friend (the same one who I got the sticker album off) drew the pictures. The narrative featured a U.S leader called ‘President Reynolds’ and another human hero called ‘Flip Jackson’. ‘Reynolds’ still sounds like a good name for a fictional US president but, on reflection, I’m not sure ‘Flip Jackson’ is entirely convincing as a typical American name.
In December 1986, I went to see Transformers: The Movie to celebrate my tenth birthday. The late Orson Welles, Eric Idle and Leonard Nimoy were amongst the voice cast for this cartoon but while I knew of Star Trek’s Mr Spock, I would not have recognised these names as a nine-year-old. There was a clever time travel storyline with the action switching between 1986 and the futuristic year of 2006. By the actual year, 2006, the live action Transformers film was in fact poised to come out. It’s stars, Shia LaBeouf and Megan Fox? Both were born in 1986. This makes me feel a bit old, especially as both actors are in their mid-thirties now.
Transformers: The Movie did not come close to making the U.S top ten in 1986. I make no apology for not having seen any of the films on the list at the cinema. It is not a very child-friendly list. Roughly half of them would not have been accessible to a nine-year-old cinemagoer. Top Gun, Aliens, Platoon, Ruthless People and Crocodile Dundee were all rated ’15’ or above (cinema age classification was much stricter then) and with the exception of Star Trek (yes, this is the even-numbered one where they go to 1980s Earth and Spock silences a noisy punk on the bus), I either had no interest or was unaware of all the others. The Rodney Dangerfield comedy Back To School was never released at the cinema in the UK. Two of my subsequent favourite films, Stand By Me and Hannah and her Sisters were released in 1986 incidentally. Neither made the top 10 US films’ list and, of course, neither would have interested me then, had I even been aware of them or able to go and see them.
An odd feature of my Transformers-obsession was that I was not particularly into the toys themselves. I was not very adept at transforming them and did not really enjoy playing with them. My interest did yield dividends though. Earlier this year, I produced a 2,000 word feature on the Transformers Marvel UK comic series for the ‘1984’ volume of the History of Comics anthology. In 2014, I also provided nearly all the written content for the Transformers 2015 annual, published by Pedigree.
(I saw one at the cinema then. I have seen six today).
Back to the Future (cinema – amazing)
Rambo First Blood Part II (NS = Never seen)
Rocky IV (saw on video in the 80s)
The Color Purple (NS – Probably should have. Read book though)
Out of Africa (90s TV. Mostly dull)
Cocoon (NS properly – looks dull)
The Jewel of the Nile (video or TV 80s – dull)
Witness (TV/video. 90s – great)
The Goonies (80s video. Good)
Spies Like Us (NS)
I love Back to the Future.
I loved it when I was eight and I love it now. Not every childhood favourite survives the journey to adulthood. Fewer still survive the further journey into middle age. What pleases a child of the Eighties is, after all, not necessarily the same as what pleases a forty-something in the early 2020s. But Back To The Future is an exception. at least for me.
I already liked time travel-related things and was particularly excited after watching a documentary about the genre on TV which in fact turned out to be a cleverly disguised bit of publicity for the new film hosted by star Michael J. Fox himself. He was completely unknown to me at this point (his sitcom Family Ties was never very big in the UK) but he was perfect in the role and remains one of my heroes.
I saw it quickly. I remember the dates on the dashboard of the DeLorean being very close to the day I actually watched it.
I am aware now that there were problems behind the scenes. Disney wanted nothing to do with the film as they were concerned about the potential incest element of the storyline i.e. the young Lorraine fancies her own son. Initial lead Eric Stoltz was sacked early on after failing to tap into the comedy element of the story (a few shots featuring him can still be seen in the completed film). Crispin Glover effectively sabotaged his career by being endlessly temperamental on set: a shame really as he’s perfect as Marty’s father, George. None of these things in any way detract from the overall enjoyability of the film, however.
I am aware that it isn’t quite perfect. The make-up used to ‘age’ the younger actors, such as Lea Thompson, in the 1985 scenes isn’t great. She is that age in real-life now, after all (she is nine days older than her onscreen son, Michael J. Fox) and doesn’t look anything like that. Some people (such as Crispin Glover again) complain that the resolution of the film hinges too heavily on the McFlys’ Reagan-era material success. But though I’ve grown up to be quite the politics geek, this element has never really bothered me. It’s true Marty’s siblings have both become yuppies but George’s sense of fulfilment on becoming a successful science fiction author is surely not purely to do with money anyway.
Like most time travel things, it doesn’t make much sense. Why don’t George and Lorraine notice Marty has grown up to look exactly the same as their old teenaged friend? And, of course, if Marty had really altered the course of his parents’ lives so much, neither he nor his brother or sister wold have been born anyway, creating a paradox. But that would be no fun.
I didn’t see any of the other top ten US films at the cinema. The Goonies was a fun 80s video childhood favourite, complete with a pirate called One-Eyed Willie (a deliberate innuendo?) and a scene where a corpse falls out of a wardrobe onto a child.
I watched Rocky IV on video with both my brothers. I know the original Rocky is supposed to be the great one but for some bizarre reason the montage bit in Rocky IV (Rocky training in the snow while the evil Soviet, Dolph Lungren just takes steroids and says things like, “if he dies, he dies” has stayed with me like nothing else in any of the four or five Rocky films I’ve seen.
I also also saw Ghostbusters (released in 1984 and discussed already), 101 Dalmatians, The Last Starfighter (quite fun but a flop) and Return to Oz (awful and terrifying and a flop) at the cinema in 1985 but none of them made 1985’s US box office top ten.
And none of these were a patch on Back to the Future, a film that, ironically given its subject matter, has proven to be timeless.
(Number I saw at the cinema then: 1. Number I have seen now: 10)
Beverly Hills Cop
Indiana Jones and the Temple of Doom
The Karate Kid
Romancing The Stone
Star Trek III: The Search For Spock
I’ve written a fair few film reviews over the years but thankfully have never had to write a review of Ghostbusters. Why “thankfully” you may ask? The simple answer is, because it was such a big film during my early childhood that I really cannot view it impartially. Is it a good film or is it a bad film? I honestly can’t tell.
Perhaps that’s not quite true. I can say fairly confidently that it isn’t a “bad” film per se. It’s also so fondly remembered that it had definitely achieved a degree of classic status. As Adam Buxton has noted, it was also marketed very well. I later had the Atari computer game (“Don’t cross the streams!”). I love the Stay Puft Marshmallow bit. I actually thought he was real for a while too. Not “real”: but I thought he was a genuine US advertising symbol who had been turned into a monster for the film. But he wasn’t. He was entirely made up for Ghostbusters.
Nearly thirty years later, I actually selected Ghostbusters the song to be played at my wedding (although not for the ‘first dance). It was a popular choice. But is it a genuinely good film? I honestly don’t know.
As with E.T., I had a shock early on: the library ghost sequence is easily the scariest bit in a not very scary film. But I was older now (eight, in fact: I’m sure I didn’t see it until 1985) and was now confident enough to still enjoy the film. I went to see it with my mum who didn’t like it at all. I seem to remember her being so bored that she read a magazine during the film. My memory may be playing me false here, however. How would she have read a magazine in the dark? I don’t think she liked it though anyway.
For the first time, I’ve actually seen all ten films listed, so I’ll run through them all quickly. 1984 seems to have been a much better film year than 1983:
Beverly Hills Cop: Really surprised this beat Ghostbusters to the top spot. Okay, but nothing special as I remember. People went nuts about the theme tune though.
Temple of Doom: Okay, but EASILY the worst of the three 1980s Indy films. I first saw it when it was broadcast on TV on Christmas Day a few years later. Part of the problem is that while the first film is based around the mythical Ark of the Covenant and the third one is based around the mythical Holy Grail, this one’s based around the…er… famous temple of Doom? It might as well be called Indiana Jones and ‘the Chamber of Bollocks.” Too silly, too much screeching, too many jumpy bits. And a bit racist, let’s face it.
Gremlins: Was scared to see this for a while after hearing an American relative describe how evil and demonic the Gremlins are. Of course, I saw it eventually, perhaps in my teens and wasn’t scared at all. It’s great fun. And all the “don’t get them wet/don’t feed them after midnight” stuff is genius.
The Karate Kid: Didn’t see this until my thirties when my wife made me watch it to fill a gap in my cinematic education. It’s okay. I suspect I’d like it more now if I had seen it as a child.
Police Academy: The sort of thing I used to end up watching on video at a friend’s house in the late 1980s. Confused me for a while: are all gay men big leather-clad bikers? Generally not a big fan. But I did later see Police Academy 6: City Under Siege at the cinema. No excuse really.
Footloose: Didn’t see this until my twenties. I still like it a lot though. John Lithgow can do no wrong in my eyes. The “Let’s Here It For The Boy” bit always makes me a bit sad though. Chris Penn was clearly so fit and healthy-looking then. What on Earth went wrong?
Romancing The Stone: Good, as I remember. We saw it as an end of term treat at junior school. It was a relatively ‘dangerous’ choice. The sequel’s not as good though.
Star Trek III: It’s easy to forget how popular Star Trek films were at the time. No one really watches them now. This was an odd numbered Star Trek film though and thus DULL.
Splash: An early video choice for the family. Very likeable and the first time I’d seen Tom Hanks in anything.
(Number I saw at the cinema then: 1. Number I have seen now: 7)
Return of the Jedi
Terms of Endearment
When I was six, my older brother took me to see Return of the Jedi.
I grew up in Peterborough, a new town in the East Midlands. As with many British towns then, there were two cinemas in the city centre in this case, the Odeon and the Canon (otherwise known as the ABC and the 123, although I’m not sure which way round it went). Even though I was pretty small, we were easily able to walk in. Later, an out of town multiplex opened and drove both of these out of business. Today, there are no cinemas in the city at all which seems appalling for a city of its size (now about 200,000 people, according to Google). I no longer live there, perhaps partly for this reason.
I loved the film. Like most people I would now agree its the weakest of the three original films but it has more memorable set pieces than, say the Empire Strikes Back and better special effects. I enjoyed the bit with Jabba the Hut, the chase through the woods and, of course, the Ewok stuff towards the end. I remember Yoda dying.
As befits a film saga which started with Episode IV, I’m pretty sure I’d never watched the first two films properly at that point, so presumably didn’t understand a lot that was going on. The first film came out when I was a baby and the second one when I was just three. I didn’t watch them properly until the 1990s. My brother was 17 then and I get the impression he’d already seen all three films more than once.
That December, I was lucky enough to get the Millennium Falcon, Jabba, Admiral Ackbar and other related toys for my Christmas and birthday presents, in addition to the CP3PO and Luke and Leia toys which I’d apparently inherited, presumably from my brother. I also remember owning a Return of the Jedi comic. Not everyone shared my enthusiasm for the franchise at this point, however. I think many people had lost enthusiasm through overexposure. This included George Lucas himself who said he would not make any more films. This contradicted earlier suggestions that he might make three prequels.
Welshman Richard Marquand directed Return of the Jedi incidentally. The importance of the Welsh sci-fi scene is often overlooked.
Otherwise, it must be said, that’s a pretty unimpressive top ten. I don’t think I’ve seen 7, 8 and 9 (I may or may not have seen Sudden Impact). I doubt Mr Mom was even shown at cinemas in the UK. Otherwise, Octopussy (which was actually partly filmed near Peterborough) is the worst James Bond film ever. Trading Places and WarGames are great ideas, poorly executed. Terms of Endearment was okay, I suppose, but surprisingly poor for a Best Oscar winner. I’m surprised Superman 3 didn’t make this list. Not that that was great either.
It should be mentioned the mid-1980s represents the absolute nadir of post-war cinema attendance. Only the pandemic years of 2020 and 2021 have been worse so far. Having peaked in the late 1940s, numbers declined steadily in the 1950s as TV and car ownership rose and went into absolute freefall in the 1960s, 1970s and early 1980s. Numbers recovered after 1985, helped no doubt, by the opening of the multiplexes I was moaning about earlier. I’m not sure how typical I was, as I was only a child but until about 1989, I often only went to the cinema once or twice myself.
Part of the problem, of course, was video. My family got their own first video player in 1983. The first films we rented were both time travel-related: Time Bandits and the 1960 Time Machine. I’m not sure what prompted my Dad (who generally dislikes sci-fi) to rent either. But I still love both films.
I also loved Return of the Jedi. Thirty years later, I would get to write the Star Wars Clone Wars annual. I’m glad I got to see one of the original Star Wars films on the big screen. This wouldn’t happen again until I was in my twenties.
(Number I saw at the cinema then: 1. Number I have seen now: 7)
ET – The Extra Terrestrial
An Officer and a Gentleman
Star Trek II: The Wrath of Khan
The Best Little Whorehouse in Texas
I remember almost nothing about the year 1982, but I do remember seeing E.T. I mainly remember being terrified.
I’m pretty sure it wasn’t my first trip to the cinema. I had only just turned five at the start of the year but I’d already seen Snow White and the Seven Dwarves by this point and Doctor Dolittle (for some reason) on a very early school trip. Neither of these were new films even then, of course, so neither made the top ten in any of the years during which I have been alive. Or ever in Dolittle’s case.
Snow White scared me too: it’s not surprising really. I was a nervous child admittedly, but the Evil Queen seems quite terrifying to me even now. I’m sure I’m not the only one who feels this way either. Her most chilling moment is when she disguises herself as an old hag so as to trick Snow White into eating the poison apple. It’s a bit odd really: this was the one moment when needs to win her over and she adopts a disguise which makes her look far more horrifying than she looks the rest of the time.
That said, Snow White is at least a classic film. While I think I enjoyed it at the same time, Doctor Dolittle struck me as fairly awful when I saw some of it again a few years later. I may be being harsh here. That said, I remember reading later about how the notoriously difficult Rex Harrison’s high jinks on set essentially ensured that his career was ruined as a result.
Despite my fear, I did manage to enjoy Snow White. Not so, E.T. The alien’s first appearance when E.T’s braying torchlit face appears briefly on screen gave me such a shock that I was so nervous that I was unable to enjoy the rest of the film for fear of it or something happening again.
I’m not sure why I had such an extreme reaction to that bit. Many people are reduced to tears by the film. This has never happened to me. If I cried then it was only out of fear.
Probably about twenty years later, I saw Poltergeist, also on this list, on TV. It’s a good horror but I don’t think it scared me as much then as E.T. did when I saw it in 1982.
The films are, in fact, not dissimilar. Both feature little blonde girls who encounter an alien presence. Steven Spielberg was also heavily involved in both directing E.T. (which was written by the late Melissa Mathison, then about to become the second wife of Harrison Ford) and co-wrote Poltergeist.
I saw nothing else on the list at the cinema but have to date seen seven of the top ten listed above. I never bothered with Annie or Porky’s or the Whorehouse one. I suspect these last two would not have made the top ten in the UK.
48 Hours and Rocky III made little impact on me. Like most people I generally only remember it as “the one with Mr T in.” I did enjoy Tootsie though and on finally watching An Officer and a Gentleman in the 2000s was pretty impressed. Like Saturday Night Fever, it’s a much tougher, grittier film than its reputation suggests.
Incidentally, The Wrath of Khan is also probably the best of the original Star Trek films. Even as a Star Trek fan, I can appreciate this isn’t necessarily very high praise.
1982 was famously the year when many films bombed. Tron, Conan The Barbarian, The Thing. Blade Runner and Cannon and Ball’s The Boys in Blue all flopped, all crushed by the box office juggernaut of E.T. currently the seven biggest blockbuster of all time.
Sadly, although I am certainly no longer scared of it, my early mild trauma has perhaps diminished my appreciation of the film over the years since. In short, I can appreciate it is a classic film but its certainly never been one of my favourites.
And why on Earth does it have such a cumbersome title? “The Extra Terrestrial?” I’ve never met anyone who didn’t just call it “E.T”.
Moxie is the story of how a group of teenaged girls band together to defeat the sexism endemic in their high school.
The sexism is everywhere. The school American football team are treated as all-conquering heroes, even as they slap girl’s behinds in public and send out lists of which of the female students has the “best rack” or is “most bangable.” One suspects both this behaviour and the language used – though undeniably unacceptable – is actually fairly mild compared to what actually goes on in many schools in both the US and UK.
Worse still, a serious complaint of harassment made by new girl, Lucy (Alycia Pascual-Peña) against bullying sports star, Mitchell (who, in an interesting piece of casting is played by Patrick Schwarzenegger) is not taken seriously at all by the school’s head, Principal Shelley (Marcia Gay Harden). Another girl is angry over being unfairly penalised for wearing a tank-top, others are irritated by the lack of support given to girls’ sports by the school. A trans student is also annoyed to be excluded from the school production of Little Shop of Horrors. Long-suffering liberal teacher, Mr. Davies (Ike Barinholtz) amusingly ties himself in knots by trying to retain a neutral stance amidst the rising tide of rebellion.
One student, Vivian (Hadley Robinson) has had enough. Inspired both by the defiant attitude of her new friend, Lucy and by tales of the 1990s riot grrrl activism of her mother (Parks and Recreation star, Amy Poehler, who also directs this), Vivian single-handedly conceives, devises, writes, produces and distributes MOXIE! an underground magazine designed to tackle directly the plague of male chauvinism which infects the school. She manages to keep her own role in producing the new journal entirely secret from friends and family, an element of the story, I personally didn’t find entirely convincing. At times, Vivian exhibits signs of the intolerance which occasionally emerges in such movements. She also comes close to alienating her best and oldest friend, Claudia (Lauren Tsai).
Based on Jennifer Mathieu’s novel, I did not find every aspect of the film entirely convincing. The name Moxie or MOXIE! really works as a film title.
But as a well-acted and potentially inspiring call to arms against the evils of everyday sexism, Moxie is definitely worth watching. Moxie is available to watch on Netflix now.
There has probably never been as successful European cartoonist as the Belgian, Georges Remi, aka Hergé (1907-1983). The man behind the twenty-four hugely popular Tintin adventures is justly celebrated as a formidable creative talent. Yet the real Hergé was a more complex and often much less lovable character than his most famous creation. Prone to overwork and occasionally extramarital affairs, Hergé’s life and career have been clouded in controversy with the cartoonist accused of racial stereotyping and of collaborating with the occupying Nazi regime in Belgium during the Second World War.
The truth, as detailed in Sian Lye’s well-researched and very readable book is fascinating.
Book review: The Real Hergé: The inspiration behind Tintin, by Sian Lye. Published by Pen & Sword, White Owl
A whole TV programme dedicated to exposing the behind the scenes lives of the British Royal family! Can you imagine such a thing ever occurring?
Yet this is exactly what happened when, in 1969, Prince Philip (Tobias Menzies), determined to demonstrate that the Windsors were good value for money in the face of growing muttering from left-wing elements within the ruling Labour Government, agreed to let TV cameras have unprecedented access to their lives. The result was a special one-off documentary called ‘The Royal Family.’
As demonstrated here, from the Windsors’ point of view, this exercise didn’t really work. The Royals came across as stiff and unconvincing. At the same time, the overall effect was to shatter the air of mystique surrounding them. In one amusing scene, we see the nation’s first family being recorded watching TV together. As Princess Margaret (Helena Bonham Carter) wryly notes, they never do this in real life anyway and are now effectively in the banal position of being on TV, watching TV. To more modern eyes, it is as if the Royal Family have become The Royle Family.
Matters are complicated by unexpected mother-in-law problems for the Queen as Philip’s elderly mother, Princess Alice (Jane Lapotaire) is uprooted from her life in a Greek convent following the 1967 right-wing military coup in Greece. She finds temporary residence in the palace. Philip (who she refers to as “Bubbikins,” the episode’s title) undergoes a difficult reconciliation with her.
Meanwhile, Colin Morgan (Merlin) plays a fictional Guardian journalist who at one point, in an unconvincing scene, reads out his own scathing review of the documentary to his enthusiastic colleagues. The episode also sees the introduction of Erin Doherty as the Queen’s dry and sharp-tongued teenaged daughter, Princess Anne, a perhaps slightly flattering portrayal, which nevertheless becomes one of the best in the series.
Ultimately, the Queen (Olivia Colman) learns a few valuable lessons in media relations from the documentary experience and from her wily old Prime Minister (Jason Watkins: perfect). Wilson has gradually transformed himself from a high-achieving but uncharismatic numbers man who smokes cigars privately into a seemingly thrusting , witty and dynamic moderniser never seen without a pipe and perfect for the TV age. It is Wilson who articulates the essential paradox facing how the public view the Royal Family. They want them to be essentially normal, relatable and like them, while at the same time, fundamentally unusual and different from everyone else.
One consequence of the sad death of filmmaker Alan Parker last July, is that at least now the status of Sir Ridley Scott, as the grand old man of British cinema is now pretty much unchallenged. For, make no mistake, while there are undeniably many other great British directors around – Sam Mendes, Christopher Nolan, Edgar Wright, Ken Loach, Mike Leigh, Mike Figgis and Danny Boyle amongst them – no one else has been producing quality films since the 1970s in quite the way Scott has.
There are similarities between Parker and Scott. Both came to filmmaking as a result of careers in advertising. Scott was successful enough to be a millionaire by the time he was thirty and received acclaim for his famous nostalgic ‘boy on a bike’ Hovis TV commercial. Both made there directorial debuts at almost the same time: Parker with the unique and ambitious ‘kids’ only’ gangster musical, Bugsy Malone in 1976, Scott with the period drama, The Duellists in 1977 starring Keith Carradine and Harvey Keitel.
There are plenty of differences too, however. Scott’s life and career was blighted by the deaths of his two brothers, Frank who died after suffering from skin cancer and Tony (himself a very successful director, of Top Gun amongst many others) who committed suicide following a cancer diagnosis in 2012.
Parker and Scott also directed very different kinds of films. Ridley Scott has never directed a musical or a film with a very young cast as Parker often did. Parker, in turn never did a science fiction film or an historical epic. Although some of Parker’s films (such as Mississippi Burning or Evita) are set in the past, none are set outside the 20th century as more than half of Scott’s are.
Finally, after Bugsy Malone, Parker enjoyed a twenty year heyday with numerous commercial and critical successes in the 70s, 80s and 90s including Midnight Express, Fame and The Commitments but directed nothing good after that. Scott, in contrast, really only made two big successes in the 20th century: Alien and Thelma and Louise. All of his other 1980s and 1990s films were essentially flops. But despite being five years older than Parker and into his early sixties by the year 2000, the 21st century has given Ridley Scott a new lease of life. The last twenty years have seen him produce many of his biggest successes including the Oscar-winning triumph, Gladiator, Hannibal, Black Hawk Down and The Martian.
As this sumptuous and beautifully illustrated coffee-table book from film expert, Ian Nathan reminds us, he has directed at least three of the best science fiction films of all time, as well as many other great ones. The sheer power and horror of Alien (1979) has never been equalled. Both this and Blade Runner (1982) have elevated the science fiction quality level forever, the second of these not really sufficiently appreciated until the 1990s. Some of his ‘minor ‘films such as White Squall (1996) and Matchstick Men (2003) are undeniably worth revisiting and even where the results have occasionally fallen short of expectations (see, perhaps, 1492: Conquest of Paradise or A Good Year), Scott certainly be faulted for a body of work which is always interesting, ambitious and which has occasionally resulted in some of the greatest films ever made.
To quote the title of one of his less successful films: he remains a Legend.
January (Prog 149): With Dan Dare gone and the character’s appearance now firmly established, it is to be a very good year for Judge Dredd. This prog sees his first encounter with his most famous adversary, Judge Death (John Wagner/Brian Bolland). Judge Anderson makes her first appearance in Prog 150.
February (Prog 152): Sam Slade Robo-Hunter now joined by sidekick, Hoagy returns in the epic, Day of the Droids. (Wagner/Gibson). Fiends of the Eastern Front (Finley-Day/Ezquerra) also begins in this issue.
March (Prog 155). A rare Dredd-free issue!
(Prog 156): The comic’s third birthday. The Judge Child mega-epic begins in Judge Dredd (written by John Wagner). The Angel Gang including Mean Machine make their first appearance in April (Prog 160).
June (Prog 166): Slippery Jim diGriz returns in The Stainless Steel Rat Saves The World (Gosnell/Ezquerra), based on Harry Harrison’s third SSR novel. The second, The Stainless Steel Rat’s Revenge is never adapted in 2000AD.
Nemesis and Torquemada make their first appearances in the experimental Terror Tube in Prog 167 and Killer Watt in Progs 178-179 (Pat Mills/Kevin O’Neill). Nemesis is not actually seen in the first of these – he is inside his ship, the Blitzspear.
August (Prog 173) The price rises from 12p to 14p. (Prog 175): The VCs finishes.
September (Prog 178): 2000AD ceases to be 2000AD and Tornado. A new logo which will see the comic through most of its 1980s golden age includes the sub-title ‘Featuring Judge Dredd,’ a sign of the character’s increasingly exulted status. The cover hails him as ‘Britain’s No-1 Sci-Fi Hero!’
October (Prog 181). The Judge Child saga ends. Alan Grant joins John Wagner as a regular writer on Dredd after this. He has already written many episodes of Strontium Dog this year, having previously written the ex-Tornado strip, Blackhawk.
December (Prog 189): Abelard Snazz first appears in a Ro-Jaws’ Robo-Tale written by Alan Moore.
Other stories this year include Dash Decent (Dave Angus/Kevin O’Neill), The Mean Arena (Tom Tully/John Richardson) and Meltdown Man (Alan Hebden/Massimo Belardinelli), Return to Armageddon (Malcolm Shaw/Jesus Redondo) and Mach Zero (Steve MacManus). Blackhawk, Wolfie Smith and other ex-Tornado strips all end by September.
This year’s Sci-Fi Special features the 2000AD debut of 26-year-old writer, Alan Moore. Moore becomes a prolific writer of Futureshocks in the years ahead. His first contribution to the regular comic appears in Prog 170.
The first ever Judge Dredd annual is published (dated: 1981). As of 2020, Dan Dare, Judge Dredd and Rogue Trooper are the only 2000AD characters to ever get their own annuals. 2000AD and Star Lord annuals also appear dated 1981.
May: The first – or, if you prefer fifth, – Star Wars film, The Empire Strikes Back is released in the UK.
August: Buck Rogers in the 25th Century debuts on UK TV.
September: Battlestar Galactica and Metal Mickey both arrive on British TV screens.
October: Douglas Adams’ Restaurant at the End of the Universe is published.
November: Marvel UK launch Future Tense (it ends in 1981).
Doctor Who Weekly goes monthly this year. The long-running TV series is nearing the end of the Tom Baker era.
December: Flash Gordon and Superman II are released in UK cinemas.
Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including The Companion, Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, DVD Monthly and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.
Do you know Adam Buxton? If you don’t, you should.
Long time ‘Buckles’ fans such as myself will have first encountered him on the hugely inventive late night 1990s Channel 4 programme, The Adam and Joe Show, which he hosted with his old schoolfriend, the equally hilarious Joe Cornish, now a film director. In the 2000s, the duo retained their cult status with an excellent radio show on what was then BBC 6 Music while Adam made occasional appearances in films like Stardust and Hot Fuzz. In the second of these, he plays an amateurish West Country reporter who suffers a comically horrific Omen-style death outside a cathedral. In recent years, he has become known for his celebrated podcasts which he records, often in the company of his dog, Rosie, from his home in Norfolk. He has also done many more things in the first fifty years of his life, than my brief summary here suggests. Many of these are mentioned this book.
Due to the current global state of unpleasantness, the release of the actual book has been delayed until September. This is no great tragedy for anyone with the inclination and capacity to listen to this audio version of his autobiography, however, as it’s available now. The book reads very much like an extended version of one of Buxton’s podcasts and which, like that, is nicely broken up by amusing ingenious musical jingles and occasional comments on the text from the reader (who is, of course, Buxton himself).
Fans of The Adam and Joe Show will remember the BaaadDad sequences in which Adam’s father, would make a guest appearance to provide a unique upper middle-class seventy-something’s perspective on the popular music of the day. Typically expressing presumably perfectly genuine outrage at the likes of Firestarter by The Prodigy or Born Slippy by Underworld, these reviews were one of the most popular bits of the show.
In reality, Nigel Buxton, who died in 2015, aged 91, though certainly not an out and out ‘bad dad’ himself, nevertheless seems to have often been a difficult person. His presence looms large in the book. Despite the moderate degree of celebrity he achieved through his son’s show late in life, Buxton the Elder, a onetime writer for the Telegraph seems to have regarded Adam’s obsession with popular culture and pursuit of a comedy career with a degree of disdain, often bordering on contempt. A particular peculiarity of the older Buxton’s personality was his absolute obsession with keeping Adam in private education, very nearly bankrupting himself in the process. At one point, he was reduced to asking for a substantial loan from his friend, John Le Carré to pay for it (the famous author was not forthcoming). Adam – who initially suffered terrible homesickness after being sent away from home to boarding school at the age of nine – had no idea about the financial crisis his father had needlessly created for himself, until many years later.
If Nigel Buxton’s aim was to instil in his son the same sometimes dubious values which he possessed himself, he failed. Adam Buxton is never less than respectful to the memory of his father, throughout this memoir. But his obsession with the trivia and minutiae of popular culture, liberal outlook and a sense of humour, have ensured that he is about as different a man from his father as it’s possible to be.
A sad development since the book was completed has been the death of Adam’s mother which he has spoken movingly about on his podcast.
Perhaps we should be grateful to Adam’s father for his public school obsession. For it was at school that Adam formed his career-defining friendship with Joe Cornish (as well as Louis Theroux).
This is ultimately an often very funny and enjoyable account of Buxton’s formative years with particular focus on the 1980s: the decade which saw him move from childhood to adulthood.
Anyone who remembers the 1970s and 1980s will find much of resonance here: Adam’s discovery of Kraftwerk through surreptitious late night listening to Radio Caroline while at school, details of an explosive adolescent erotic dream about the actress June Whitfield, happy experiences seeing Ghostbusters and less happy experiences watching David Lynch’s Dune.
There are also occasional light hearted interruptions with details of a log of recent arguments Adam has had with his wife, anecdotes about socially awkward experiences Adam has experienced on trains and perhaps a little too much about his obsession with David Bowie.
As the title suggests, Buxton is inclined to ramble here, just as he does during his ‘Ramble Chats,’ when he interviews people on his podcast. But this is an enjoyable read. Adam Buxton is a thoroughly charming man and is always a delight to listen to.
Ramble Book: Musings on Childhood, Friendship, Family and 80s Pop Culture, by Adam Buxton. Audiobook available now. Hardback/Kindle version available: 3rd September 2020. Published by: Mudlark.
After a long life of pranks and practical jokes, the wealthy Henry Russell (Hugh Griffith) is dead, leaving aside a substantial sum of money to four of his relatives. But old Henry being Henry, things are not going to be quite as simple as that. For each of his relatives are all flawed in various different ways and under the terms of the old rascal’s will, each will have to complete a very specific task before they can get at his money. Each challenge has been perfectly designed to force them to confront their own worst failings.
Agnes (Fay Compton), for example, a dreadful snob is forced to spend a full month in the employ of a middle-class family headed, in this case, by a hypochondriac Scot (played by John Laurie, later of Dad’s Army). For the supremely timid young bank clerk, Herbert (George Cole), however, the task is different. He must stage a hold up at the very bank he works for using a water pistol. Simon (Guy Middleton), meanwhile, is a first-class cad and a womaniser in the mould of the type of characters Terry-Thomas often used to play in films like this. He is obliged to marry the first single woman he speaks to, to get his share of the loot. He actually cheats straight away ignoring the first single woman he meets, a beautiful but presumably penniless young cigarette seller. This very small part is played by Audrey Hepburn in her screen debut.
Finally, there is Deniston (Alastair Sim), a retired army officer, whose life is already pretty complicated even before Henry’s demise. Publicly engaged to an overenthusiastic armed services girl, ‘Fluffy’ (Joyce Grenfell, great as ever), Deniston leads a double life enjoying a secret career dictating the trashy American-style crime novels he has composed to his adoring secretary (Eleanor Summerfield) which are then published under a variety of pseudonyms. Deniston’s task is to commit one actual genuine crime which will seem him incarcerated for precisely 28 days. Sim’s character finds the execution of this, surprisingly difficult.
There are a few extras. Although he obviously hasn’t watched the film that recently, Stephen Fry’s knowledge and genuine love for the film is obvious during his interview. We also get to see Sim hamming it up as the Roman Emperor Nero opposite his frequent co-star George Cole in a wartime short. More dedicated Sim fans might want to listen to his 1949 speech delivered on being elected Rector of Edinburgh University (beating future Prime Minister Harold Macmillan) in full.
Newly restored nearly seventy-years after it first appeared, Laughter In Paradise is still lots of fun. Alastair Sim, in particular gets some marvellous screen moments, self-consciously turning a bust of Shakespeare the other way at one point so as if to prevent the Bard seeing him delivering the particularly purple prose of his latest potboiler (e.g. “she was one hot tomato”). Other brilliant sequences see him make several abortive attempts to throw a brick – for some reason, neatly tied up in string – through a jeweller’s shop window and and a long, drawn out attempt to get caught shoplifting an umbrella in a Piccadilly department store. “The wrong tartan,” he explains, on returning it, embarrassed.
A genuine classic.
Vintage Classics. Studio Canal. Original release: 1951. Cert: U.
Release date: 29 June 2020
Running time: 80 minutes
Directed: Mario Zampi
Cast: Alastair Sim, George Cole, Fay Compton, Guy Middleton, Joyce Grenfell, Hugh Griffith, Audrey Hepburn
New Alastair Sim and Laughter In Paradise Interview with Stephen Fry
Ministry of Information short Nero: Save Fuel (1943) starring Alastair Sim and George Cole
Alastair Sim’s 1949 Rectorial Address at Edinburgh University (Audio Only)
The 1950s was undoubtedly a classic period in the career of character actor, Alastair Sim. This film sees him playing Hawkins, a watchmaker who also operates as an assassin. Early scenes demonstrate how Hawkins has often adopted a variety of ingenious disguises before successfully blowing up his victims. His main target here is an adulterous politician Sir Gregory Upshott (Raymond Huntley) who he tracks to a hotel, The Green Man of the title.
It isn’t long before things take a farcical turn as a vacuum cleaner salesman curiously called William Blake (a young George Cole) and a local beauty (Jill Adams) get drawn into proceedings. With Terry-Thomas playing a philandering cad called Charles Boughtflower and a trio of elderly female musicians also becoming involved, Hawkins’ carefully laid out plans soon descend into chaos.
Although hardly groundbreaking, The Green Man is pleasantly enjoyable fare, packed with familiar faces recognisable to anyone…
In 1978, Alan Moore decided to quit the job at the Northampton gas board and dedicate himself full time to breaking into the comics industry as a writer. It was a high risk strategy. He was twenty-four years old and his young wife was pregnant. But Moore saw it as his last chance to exchange the job he hated for the career he loved.
Success came slowly with occasional one-off stories (Tharg’s Futureshocks) in the new science fiction comic, 2000AD. Later, came Skizz, D.R. and Quinch and my own personal favourite, The Ballad of Halo Jones. More success came through the short-lived and inappropriately titled Warrior comic (it was not war-related at all). Moore provided the backbone to the comic between 1982 and 1985, most famously with V For Vendetta, set in a late 1990s futuristic fascist dystopia. He also wrote Marvelman, now known as Miracleman, a promising superhero strip derailed by a legal dispute with Marvel Comics. This proved an forerunner to his greatest success, Watchmen for DC.
Today, Alan Moore is still in Northampton, in his sixties and is renowned as one of the most successful comic writers ever albeit one with a bit of reputation for disputes with his employers or prospective filmmakers attempting to adapt his works (Moore has famously never seen any of the four films directly based on his own comics).
His fascinating story is detailed thoroughly by the always excellent Lance Parkin in this comprehensive biography.
Magic Words: The Extraordinary Life of Alan Moore by Lance Parkin, published by Aurum Press (2013)
The Impossible Has Happened: The Life and Work of Gene Roddenberry, Creator of Star Trek. Author: Lance Parkin. Aurum Press. Published: July 21st 2016.
It has been fifty years since the creation of Star Trek and the franchise is undeniably going strong. A new film and TV series are both scheduled to appear later this year.
Twenty five years after his death, the reputation of the series creator Gene Roddenberry is more uncertain. On the one hand, he has been subject to a personality cult almost as elaborate as that surrounding Scientology creator and sci-fi author, L. Ron Hubbard. On the other hand, he has been sometimes unfairly demonised as a fraud, a philanderer and a phoney. The truth, as usual, lies somewhere in between.
He was born in 1921 and served with distinction as a pilot in the Second World War. After the war, ironically he came very close to death in a Pan Am air crash which killed seven people in 1947. He served in the US police force drifting into TV writing and creating one non-Star Trek series, a police-themed one called The Lieutenant. He then created Star Trek which ran for three series between 1966 and 1968. At the time, it was neither very successful or a failure. The TV series of Mission Impossible which ran at about the same time was probably more successful. Mr Spock actor, Leonard Nimoy indeed joined the Mission Impossible cast after Star Trek ended. But unexpectedly, Star Trek became a huge success after it had ended through syndicated repeat showings. The show just grew and grew and grew.
Many of the myths surrounding Star Trek seem to come from stories Roddenberry himself, often from tales spun by him at science fiction conventions in the 1970s. Some had the commendable aim of consolidating a following for the series, but others clearly had more to do with Roddenberry’s ego. Yes, the series did end after three series but Roddenberry’s claims that it was ended unfairly by small-minded producers don’t add up. By that stage, it had no longer been profitable and the last series was significantly worse than the others. Roddenberry also subsequently exaggerated his own role as a champion of equality and civil rights claiming falsely that he fought narrow-minded studio heads over the issue In fact, though he wasn’t racist by mid-20th century standards, the 1960s series only ever featured as many other minorities as most other US TV series of the time. Nichelle Nicholls’ Uhura, for example, was barely ever given anything important to do. She was one of many women Roddenberry had affairs with and in truth, the original series really didn’t have a progressive role towards women at all.
Leonard Nimoy certainly grew to hate Roddenberry. Roddenberry would often claim sole credit for the success of the series, ignoring the contribution of many others. He had no role at all in the making of the most acclaimed film in the series, 1982’s The Wrath of Khan (which he hated) and his own increasingly drunken, ageing cocaine-addled influence partly explains why the ultimately excellent Next Generation series had such a dull start.
Author Lance Parkin provides a balanced portrait of a man who for all his many flaws took TV on a journey where no one had gone before.
Imagine it’s March 1977, you have 8p and you want a comic. Let’s assume you want a boy’s comic: it was a sexist world back then. There are lots to choose from. Perhaps you want a funny one like The Beano, The Dandy, The Beezer, The Topper, Whoopee!, Buster or Whizzer and Chips? Or something harder edged? Tiger, Battle or a new science fiction comic with a free “space spinner” on the front?
2000AD emerged from the ashes of Action comic, which was withdrawn due to its violent content in the mid-1970s. Did anyone present at 2000AD’s creation, imagine it would still be going in the then far flung futuristic year of 2000AD? A year by which time most of the children who had bought Prog 1 would be in their thirties, many with children of their own? It seems unlikely. It is now 39 years on from that first issue. Those same readers of Prog 1 would now be in their fifties, at least. None of the comics mentioned above are now going with the exceptions of The Beano which began in 1938. And 2000AD itself.
This documentary tells the story of the galaxy’s greatest comic which despite Action’s fate (or perhaps because of it) has always been pretty violent. After an exciting animated opening sequence in which many of the comic’s monochrome heroes – Judge Dredd, Rogue Trooper, Strontium Dog, Nemesis the Warlock, Zenith – move very slightly against a thumping rock soundtrack, it’s perhaps disappointing that most of the film is spent in the company of a group of ageing, sometimes not very articulate men. Some are enthusiastic. Some are quite bitter.
Pat Mills is the star. Passionate and profane about the early days, angry about the 1990s days of decline, he is still with the comic. Others left during the 1980 s comics “brain drain”. Neil Gaiman seems genuinely emotional about Alan Moore’s failure to complete his brilliant Ballad of Halo Jones a full thirty years later. Some rage at the appalling way some artists’ work was treated. Others praise 2000AD for crediting its writers and artists properly (in a special “credit card” box) something few British comics did up until then. One fan, Ex Machina director and author of The Beach, Alex Garland wrote the screenplay to Dredd, a huge improvement on the disastrous 1990s attempt to film the 22nd century fascistic lawman starring Sylvester Stallone. Other films seem to have liberally stolen from the comic.
None of the writers seem to have liked Tharg the Mighty, the comic’s fictional alien editor very much, presumably because most have presumably endured a stint answering letters on his behalf (including, two from a teenage “C Hallam, Peterborough” in 1993). Tharg also introduced the occasional Twilight Zone-style Futureshock stories, often used as a testing ground for upcoming writers and artists.
A fine tribute anyway to a fine comic. Until next time: Splundig Vur Thrigg Earthlets!
2001: A Space Odyssey is a long film. Having experienced both it and the actual year 2001, it must be said the film seemed the longer of the two.
In summary: Music. Prehistoric ape men throwing bones into the air. Spaceships moving very slowly to classical music. Leonard Rossiter. The excellent HAL shutdown sequence. The space baby bit which nobody really understands. Many hippies came away in 1968 thinking they had seen the best film ever made. Perhaps they were right. No one had after all, seen Timecop then.
Some muse that the film proves that director Stanley Kubrick helped fake the Apollo 11 moon landings the following year. This seems unlikely. Kubrick was after all a very meticulous director, famous for insisting upon multiple takes. If he had been hired to film the moon landings, they would probably still be being filmed.
This is not the film, however, it is Arthur C. Clarke’s much more palatable book, illustrated for the first time (by artist Joe Wilson). It is not a predictive text. Having cleverly predicted the moon landings would be in 1970 (he made the prediction in 1945 and was only one year out!) Clarke seems to have been about a century out at least in predicting how advanced we would be by 2001. Anyone hoping for the discovery of a giant space baby in that year would have been sorely disappointed.
But this is ultimately an enjoyable and nicely illustrated read. Scoring it out of 2,500, I would unhesitatingly give it…2001.