Reviews

After transferring to a Los Angeles high school, Sarah finds the telekinetic powers that she possesses attracting the attention of a trio of misfit outcasts Bonnie, Rochelle, and Nancy who practice witchcraft. As with Sarah each of them comes from troubled backgrounds. When she joins their coven, they set out to get revenge on the more popular kids at school who have tormented them. However, things rapidly spiral out of control with the power they have now harnessed going to their heads. Leading to some very dark consequences.

Essentially a contemporary take on Witchcraft, The Craft was an attempt to do for it what The Lost Boys had done for Vampires back in 1987. With a bit of the black comedy, Heather's as well as a touch of The Witches of Eastwick thrown in for good measure. The movie sees Robin Tunney's impressionable lead protagonist moving to Los Angeles from San Fransico. Starting at her new high school, she finds herself raising the attention of a group of girls, who are wayward outcasts and practice witchcraft. When they learn that Sarah possesses supernatural powers, they persuade her to become the fourth member of their coven, completing an air-water-earth-fire circle and making them all-powerful.

It's of course not long before they start to abuse their powers, mainly at the behest of Fairuza Balk's unbalanced goth, Nancy. Seeking their pound of flesh from the more popular kids at school who have ridiculed and demeaned them. Early on Fleming paints a sympathetic of the troubled trio, with Neve Campbells carrying scars she received from an automobile accident, Rochelle is a black student who is constantly on the receiving end of racist bullying from a gang of white girls, while Nancy lives in a trailer park with her mother and her abusive stepfather. There is indeed a tragic element to the movie, but as would be predicted, when Sarah enters the fold, those who have wronged them begin to suffer the consequences events eventually begin to take a deadly turn.

Initially, It's relatively harmless acts of retribution that the quartet inflicts upon their unsuspecting victims. From Christine Taylor's high school princess suffering from alopecia to Sarah, casting a love spell on Skeet Ulrich's obnoxious popular Jock, Chris who callously spread a rumour that he had slept with her. Things then soon begin to get out of hand.

It's safe to say that The Craft had a premise that had plenty of promise. However, any potential it has is pretty much squandered due to its fairly abysmal execution. First and foremost what it suffers from the majority of the performances, with Robin Tunney delivering her lines with all the conviction of a block of wood. And lacking any real presence. Balk who is in fine cynical, nasty form, exuding some cool menace and looks darkly viscous under some black make-up eventually descends into schlocky over-the-top histrionics in its final reel It's only Neve Campbell who gives a convincingly solid turn and comes out of the whole debacle with any dignity intact. It doesn't help either that it lacks the inspired, black humour of The Lost Boys and Heathers, taking itself perhaps a little more seriously than was necessary.

The subplot involving Sarah having cast a love spell on Chris also proves rather problematic. As it becomes rather ambiguous as to how fully in control he is of his own actions when he attempts to rape her. While it seems, we're eventually expected to feel sympathy for him, when he has proven himself already to be an arrogant unpleasant jerk.

As the movie lurches into its final act, and with the inevitable showdown which sees Fleming dial things right up to eleven, and relying too heavily on some ropey looking CGI. It descends into far-fetched, over-the-top nonsense, topped off by an incomprehensible climax. What The Craft boils down to in the end is something of a missed opportunity, that could have benefited from a tighter script, stronger acting, and more of a fun sense of the absurd.

When Mark Watson learns that his father, who is a wealthy psychiatrist will not pay for his college tuition. In desperation, he pretends to be black, changing his skin colour, as well as his hair and how he speaks. However, by doing so he finds that by doing so, he sets himself up for more than he bargained for. Experiencing racism, he learns what It's like being a black man in 80's America. And when he falls in love Sarah, a black student he comes to feel guilty about his deception.

Racism and the melting pot that was and still is American society, has been for a very long time a contentious and heated hotbed topic. With Soul Man director Steve Miner, who had previously until then had cut his teeth directing the first two Friday the 13th sequels, as well as the B-movie Horror comedy House, decided to steer in a different direction with this comedy, which attempts to be one part goofy teen comedy, and one other part social satire. Needless to say, the movie did ruffle some feathers upon its 1986 release. Not least of all because of lead star C. Thomas Howell donning black-face, with allegations of racial insensitivity coming mostly vocally from the NAACP. So severe was the backlash against it, that even though a commercial success at the box office, it scuppered Howell's career, and any chance of him being a mainstream Hollywood leading man.

This begs the question then as to whether the movie on reflection was deserving of the critical mauling it received. Is it guilty of being racially insensitive? Well, here's the thing, and let me just state that, to begin with, Soul Man is not a good movie. However, this is not due to the controversy it stirred up and erroneous allegations made against it. The problems with it are many-fold, not least of which is that Howell's Mark Watson exceeds a dosage of tanning pills to make himself look black, and then alters his hair. With some movies, a healthy amount of suspension of disbelief is required, and that is fine. But here, the notion that anyone would believe that he is a genuine black man, and not some college kid who has taken it upon himself to disguise his white ethnic identity is a bit of a hard pill to swallow. What Black it seems was going for was a movie in the spirit of Tootsie, which saw Dustin Hoffman's struggling actor who, out of deperation dons a wig, makeup, and a dress to pretend to be a woman to win a role in a daytime soap opera. Only to experience the sexism and prejudice that professional women have experienced in the working world. Therefore, I might have been more forgving towards Soul Man if were it not so that screenwriter Carol Black (the irony of her surname is not lost on me) didn't aim for the low-hanging fruit of racial comedy in depicting the casual prejudice and racism that Watson experiences. Going so far as in one brief egregious moment of forced comedy, where Howell dons sunglasses and sways from side to side as if he's Stevie Wonder black. There's also the additional story arc involving Howell having a sexual relationship with a fellow white student. Whose rich white parents (one of whom is played by veteran actor Leslie Nielsen), are there to act as the catalyst for some visual punchlines, that are equitably tired and lazy.

All the obvious cliches, and Black doesn't just stop there with the ethnic stereotyping, but its script that conform to all the tropes that abound in teen comedies of its variety. To the extent that anyone who has watched enough movies of this ilk could have written it themselves. Suffice it to say, you know the hero is going to get the girl, and somehow manage to not face any serious consequences for his duplicity. Not before learning some valuable lessons, and coming through the back of his experience a better man. And this is Harvard Law of all places that he has been defrauding, which makes it all the harder to buy. Needless to say, the movie writes itself. Far from being racially insensitive, it's more a case of it stooping to implausible genre conventions.

Just as careless is that Black hasn't put as much discipline into her storytelling, with one story arc involving one of Howell's fellow white students, and his girlfriend potentially revealing his deception proves to be unnecessary as it doesn't go ever anywhere. The best that can be said for Soul Man, is that the actors for the most part deliver solid performances, although Howell proves to be a bit even in his early scenes. There have been quibbles made about his chemistry with his love interest Rae Dawn Chong. I never found this to be an issue. Although it is ironic, that there would have been seeing as both actors became romantically involved, and would eventually marry, although they eventually divorced after just one year together.

Doubtless, all those involved with Soul Man went into it with good intentions, although it may be argued that the teen comedy genre may not have been the wisest genre to aim for. Or perhaps It could have, and it was merely a matter of creative lethargy from Black. Either way, it despite it' commercial success it's gone on to be a footnote in comedy movie history, as that movie that ruined C. Thomas Howell's. If Black wanted to write a smart, funny comedy that satirised racism, she should have watched Mel Brooks Blazing Saddles to gets some pointers. That being said, it benefited from it's cartoonish, western parody template as opposed to this movie which attempted to take a more down-to-earth, reality-driven backdrop. That complemented Brooks's brand of comedy. In the end, if you're looking for a sharp, witty, and insightful social comedy that tackles the issue of racism. Soul Man is not that movie. It's heart was in the right place, but not it's soul.

Lucas is a kind-hearted nursery school teacher who is loved by his pupils, and those in his community alike. He unfortunately finds his whole world crumbling around him when one of his pupils, Klara who had a crush on him, implies he has sexually abused her. Finding himself becoming a social outcast, he struggles to prove his innocence to the same community that has already tried and convicted him.

Thomas Vinterberg who had previously explored the subject of sexual abuse with the provocative Festen, did so again with The Hunt. However this time he flips it on its head by depicting the plight of someone who is falsely accused, with Mads Mikkelsen, who has become more renowned for playing more villainous roles, proving his range in this hard-hitting drama. Once a beloved member of the community that he inhabits, its a charge leveled at Lucas that not only affects him but also his teenage son Marcus. Finding himself the burden of having a father who has been accused of the most heinous of crimes.

Vinterberg superbly depicts the shoot first and ask questions later mentality that has become prevalent in contemporary society. Whereas often is the case that someone who has such an allegation leveled at them is already found to be guilty before being even proven innocent. One such example is Grethe, the director of the nursery who is present at the questioning of Klara by an acquaintance, who due to her over zealous approach is prepared to think the worst before being made aware of the full facts. Its the incompetence of her and others that makes Lucas's plight all the more infuriating.

Mikkelsen gives a powerful, sympathetic performance as a man finding the life he has built for himself disintegrating, becoming a figurative leper to practically everyone around him who has become enveloped in mass hysteria. His despair and frustration as well is very much palpable as he sees those who he thought were his friends turn against him.

To say Vinternberg as he did before with Festen, is covering a taboo, and needless to say delicate subject would be an understatement. He handles it though with sensitivity, with it never once feeling sensationalist or exploitative. What makes it so undeniably sobering is it's something that could happen to anyone, making it all the more relevant a subject. Pedophile paranoia although to some degree understandable is at its heart a very genuine and pertinent issue, which is what singles out Vinterberg for praise for daring to broach one that is so contentious. It all builds to a climax, which after the dust has seemed to have settled, asks of us a thought-provoking question. Are those who find themselves on the receiving end of such abhorrent allegations. Vinterberg doesn't offer any easy answers, which makes it all the more real and chilling. The Hunt is a masterpiece of film-making and a superb piece of social commentary that examines a complex issue that Isn't talked about enough and should not be ignored.

A baby girl is found by a river by the children of Willow Ufgood. A Dwarf farmer who aspires to be a great sorcerer. Taking her into his care, it becomes apparent that she is more than she seems when his village is attacked by dog-like creatures that have been tracking her. Willow finds himself setting out on a quest to the first person he can find, but in doing so he finally learns that she is Elora Danan, the baby girl destined to bring about the downfall of the evil sorceress Queen Bavmorda. Finding himself teaming up with the roguish swordsman Madmartigan, and the brownies Franjean and Rool. They set out to seek out the powerful sorceress Fin Raziel to aid them in protecting Elora while pursued by Bavmorda's daughter Sorsha and the commander of her army, General Kael. Who seeks to bring her to Bavmorda so that she may exile Elora's soul into oblivion.

Having had major box office successes in both the action/adventure and sci-fi field with his Star Wars trilogy and the first two Indiana Jones movies. It was probably inevitable that he would set his sights on delving into the sword and sorcery genre with this fanciful fantasy effort. Casting Warwick Davies in the movie's title role, who was up until then best known for his role as the cute cuddly bear-like Ewok Wicket in Return of the Jedi. Willow undoubtedly marks his most prominent role on the big screen as the movie's unconventional vertically challenged title hero of the story. And a welcome one at that, for what Willow lacks in the essence of being a more traditional statuesque, swashbuckling action hero he more than makes up with charm, making for an affable likable screen presence. In terms of the traditional action stakes, Val Kilmer, an actor who normally I'm less than enthused with more than well fits the requirements as Madmartigan. A Han Solo prototype who becomes a reluctant protector of both his diminutive new acquaintance and the even more diminutive child under Willows's guardianship.

Willow is a rollicking, old-fashioned adventure which like in the tradition of matinee movies that Lucas aped with his previous box office bonanzas, is not short on some breathtaking action sequences and with no shortage of endearing characters. Yes, its plot is overly simplistic and it relies too heavily on hackneyed tropes associated with its ilk. However, what it does have is an abundance of wit fun, and exuberance thanks largely to Ron Howard who directs proceedings with verve and a degree of panache. Proving his ability to construct some breathtaking action set pieces which include Madmartigan fighting with soldiers on a horse-drawn cart, and battling soldiers, Trolls, and the monstrous two-headed Eborsisk monsters.

True, the romantic subplot involving Kilmer and Whalley Kilmer's Sorsha does feel rather tacked on, and the latter's expedient conversion doesn't quite convince. Although the sexual tension between her and Kilmer is quite palpably felt, probably helped by the fact that they were a genuine married couple when the movie was in production. It does feel as well that screenwriter Bob Dolan has to spoon-feed early on what we can predict is going to eventually happen between the two.

Unfortunately some of the special effects, particularly those of the two-headed Eborsisk monsters which are stop-motion now look shoddy by today's standards. This however doesn't take away from the fun and sense of adventure on display.

With excellent support from the ever-reliable Kevin Pollack, Rick Overton, the glorious Patricia Hayes (anyone not familiar with her should check out the 1971 one-off TV drama; Edna the Inebriate Woman if they ever get the chance), Gavin O' Herlihy, the physically imposing Pat Roach and the late Billy Barty in a relatively brief appearance early in the picture they each help make; Willow a flawed but never the less entertaining fantasy adventure romp for all the family.

17-year-old Scott Howard is a typical teenager, or so he thinks. If being continually overshadowed on his basketball team by better players wasn't bad enough, amongst other problems. He soon learns that his family has a bizarre secret. Discovering that he is descended from a long line of werewolves, and before he knows it, once his secret is out he finds himself becoming a local celebrity, and the star player in his team. However, Scott eventually learns that being the Big Man or in this case "Wolf" Isn't all that it's cracked up to be.

One of a slough of 80's teen comedies to have bombared cinema theatres back in the day, Teen Wolf was essentially nothing more than a vehicle for Michael J. Fox, who had made something of a name for his self in the sitcom Family Ties. It's rather curious that it would be released just a few short months, before he'd hit it big, albeit it releatively briefly with Back to the Future. A movie which this forgettable so-so effort would be overshadowed by, although it was successful enough at the box office that it managed to earn itself a god awful sequel as well as a tawdry, short lived animated series. And would inspired a underwhelming MTV TV series.

It goes without saying that Teen Wolf is fanciful fluff and coasts off the charisma and charm of Fox, who manages to more or less carry what is really just another hackneyed, formulaic teen comedy with it's lycanthropic plot being nothing more than a shallow gimmick. All the old chestnuts associated with movies of this ilk are all present and correct with Fox being the lad from the wrong side of the tracks, who is put upon by the local bully, and who is shunned by the beautiful popular girl who he lusts after. He is seemingly oblivious to the fact that his close childhood friend Boof has feelings for him, and from there you pretty much know where the plot, which involves his his Basketball team taking part in the High School Championships is going. The movie's screenpaly pretty much writes itself.

Needless to say that Fox's angst ridden protagonist goes through something of a personal passage of self discovery before the movie reaches it's cliched conclusion. One that is replete with a cheesy a-typical 80's musical montage. There is also a sense that the whole conceit of Scott being a Werewolf is never completely used to its fullest.

The supporting cast which includes Jerry Levine as Scott's Fonzi-esque best friend Stiles acquit themselves just fine, but it probably says something that there individual carreers haven't amounted to much or that they quit acting completely. It probably comes as no surprise either that it would spawn several low-rent imitations with the likes of Teen Vamp and My Best friend is a Vampire. Teen Wolf is nothing more than a footnote in Fox's early career, and one that would ultimately peak with the Back to the Future Trilogy. It's nothing more than passable, generic fodder that after having done watching it, you'll be hard pressed to really remember shortly after having done so.

Miriam is a centuries-old vampire who has existed as far back as her origins in ancient Egypt. Surviving on the blood of the numerous lovers she has had over the years, they in return do not age until she grows tired of them. Unfortunately for her latest one, John, that is the case for him with his life expectancy being very short. In desperation, he seeks the assistance of Dr. Sarah Robert. A research gerontologist, who is studying the effects of rapid aging in primates. She is at first dubious regarding John's story, but her curiosity leads her to contact Miriam and finds herself being bewitched by the immortal seductress, herself.

Based on the novel by Whitley Strieber which was first published in 1981, The Hunger was the debut full-length theatrical feature film for Tony Scott, brother of the now legendary Ridley Scott, who no doubt had a lot to live up to when compared to his older sibling who had gained critical plaudits for his work on Alien and Blade Runner. A contemporary arthouse reworking of the Vampire mythology, that acts as an allegorical meditation on the nature of addiction. Scott follows in the footsteps of his brother, revealing his own aptitude for an aesthetic flair that he shares with Ridley. Opening in a dimly lit nightclub to the strains of a moody 80s retro-punk track. Scott sets the right ultra-modern, bleak tone that will echo throughout.

Both Catherine Deneuve and David Bowie on a purely visual basis, make for a striking couple. Appearing sleek and stylish in what could be mistaken for sharp Armani apparel, and dark sunglasses. They pick up random strangers who are just as beautiful as they are, who they feast upon with a fusion of unsettling bloodletting and savage eroticism. You can definitely see Ridley's influence, with shades of Blade Runner seeping into the mix. Scott peppers scenes with fluttering pigeons, swirling smoke, billowing curtains, and elegant artifacts which lend an air of film-noir sensibility.

Posing as a wealthy couple that teaches classical music lessons in their elegant New York townhouse, which is a relatively mundane contrast to their more alien and disturbing nocturnal activities. John is seen to have a more relatively humane side to his personality when compared to Miriam. Particularly in his relationship with Alice, and it's this, that offsets how predatory and remorseless she is. Even, when John ultimately gives in to the hunger he has for youth, leading him to a moment of self-preservation, that is abhorrent and cold-blooded. There is still a palpable air of remorse that is subtly felt in him.

Make-up artist, Dick Smith's brilliant make-up, effectively captures Bowie's deterioration from a handsome, youthful playboy to a decrepit, silver-haired octogenarian seamlessly. It helps as well, that Bowie to his credit, pulls off a convincing transition, from his youthful visage into his elderly personae, which never feels ham-fisted.

First and foremost though, Bowie inhabits what is a supporting role, and whose screen presence is relatively shortlived with Susan Sarandon being the movie's chief protagonist. Gerontologist, Sarah Robert whom John turns to as a seemingly grim fate of an eternal living death awaits him. And it's Sarah's inquisitive scientific curiosity to learn more about John's affliction that has her inevitably crossing paths with the sultry Miriam, who with the loss of John so to speak, seeks a new lover, and a figurative protege in Sarah. Fearful of the loneliness that eternal life can envelop her, and fuels her drive to seek companionship as well as a partner in blood. The isolation and the regression into becoming an outcast from the rest of the world due to the life she has chosen is a major theme and is something that weighs heavy on Miriam. Catherine Deneuve brings a seductive allure to Miriam and is captivating as she is deeply sensual. While Susan Sarandon is suitably tenacious as the inquisitive Dr. Sarah Roberts and has a strong and understated sexual chemistry with her female co-star.

As an allegory on the nature of addiction, the sense of isolation, and to an extent how it leads to one becoming a societal pariah, and how addicts inevitably feed off others to maintain their fix, The Hunger for the First Three Quarters works rather well. Where it flounders is in the ending that the studio forces on Scott, which pretty much undermines the more moralistic original ending that was far more fitting within the context of its allegorical plot. What we're lumbered with is one that feels like one that came out of a Cadbury's Flake advertisement (and features a very brief appearance from British actress Sophie Ward at a very youthful age). Ending the movie on something of a bum note.

The Hunger overall though is a visually arresting and highly atmospheric, somber, and brooding work from Scott, who rightly or wrongly would go on to be somewhat overshadowed by his older brother. Although not without some degree of talent and a flair for a strong aesthetic eye, this was the movie that would first highlight his aptitude for it. Also look out for a brief appearance from a young pre-fame Willem Daefoe as a sleazy street punk, before he rose to greater prominence.

Will Graham is a retired F. B. I. Agent who lives a quiet life with his wife Molly and his son Kevin. When a prolific serial killer nicknamed by the press as The Tooth Fairy who preys on families continues to elude the bureau, Will's old friend and former superior Jack Crawford approaches him, as Will has an aptitude to get into the mind of a serial killer, and display total empathy. The troubled ex-agent is initially reluctant to go into service but cannot bring himself to see another family fall prey to the brutal Tooth Fairy when he knows he can potentially put a stop to him. Accepting Jack's request despite protests from Molly, Will sporadically meets with the charismatic and highly intelligent but dangerous serial killer and psychiatrist Dr. Hannibal Lektor whom he helped capture. However, it came at the cost of Will nearly losing his sanity after falling victim to a brutal assault from the deranged Lektor. Soon the hunt for the elusive Tooth Fairy becomes a race against time before the killer strikes again as his modus operandi dictates he does so when there is a full moon. Meanwhile, photographer Francis Dolarhyde who is the eponymous Tooth Fairy is romancing a young blind woman who is unaware of his clandestine activities. And of the deep pent-up rage and turmoil that lies deep within him.

What was then the latest movie to come from Michael Mann who had previously been behind the 1981 crime thriller Thief and the 1983 World War II Horror movie The Keep. Having also been the creative mind behind the iconic 80s Detective series Miami Vice. Manhunter is based on Thomas Harris's novel Red Dragon which was the face of his series of books to feature the even more now iconic Dr. Hannibal Lectre,(although his surname was misspelled as Lektor here) had its name changed because producer Dino Delaurentis had previously had a flop with 1985's The Year of the Dragon. Therefore he had no intention of wanting to tempt fate a second time, although it proved fruitless proving to be a commercial flop and achieving only mixed reviews. A fate that most certainly wouldn't befall the big screen adaptation of Harris' second novel in his series The Silence of the Lambs which received critical acclaim, was a box office success, and pulled in five Oscars to boot.

Needless to say, the reason perhaps for its failure to pull in audiences is that Mann who himself adapted its screenplay, didn't stay quite as faithful to the source material as fans of the novel would have liked. First and foremost Lektor here is not portrayed as being a cannibal, having been a killer who targeted college girls while in Harris' novels "Lectre" was more indiscriminate. Also the physical appearance of Francis Dolaryde who in the books is described as being far more handsome and slender built, with a slight deformity in that he had a cleft lip. Rather than the lanky, bald, ghostly-looking figure as portrayed by Tom Noonan. While the movie's denouement differs greatly.

All present present and correct however are many of the same characters that have become synonymous with the series, which include Agent-in-Charge of the Behavioral Science Unit of the F. B. I. Jack Crawford as played by Denis Farina, Forensic psychologist Dr. Sidney Bloom (and another friend of Will Graham's whose name was changed from the novel as it was originally Alan) with Paul Perri inhabiting the role, and Dr. Frederick Chilton, director of the sanitorium where Lektor is imprisoned and played by Benjamin Hendrickson. The dynamic and relationship between Will and Jack is the one that is most pivotal and apparent to the plot.

Mann's Manhunter as with his previous movies is textbook 80s fare, from its supercharged and synth score as composed by Michael Rubini, Barry Andrews, and Klaus Schulze. As well as it's pop track that simply screams out the era. It is safe to say that he doesn't skimp on any measure of style, with his employment of shades of blue, green, and purple in his color palette. It all adds to the intense and brooding atmospheric ambiance that he composes. And complemented not least by the movie lead actor the undervalued William Peterson who imbues Will Graham with a burning intensity. It's hard not to believe that Graham is a damaged human being haunted by the demons of his past. And that one that looms over him that haunts his thoughts is Brian Cox's Hannibal Lektor. Who has an overall brief screen time, only appearing in three scenes but Cox makes each one most definitely count. Making a palpable impact. His version of Lektor as opposed to Anthony Hopkins who would become more renowned for the role, with his jet black vampiric hairstyle and pale white complexion is a more understated, and realistic approach to the character than what was to later come. Portraying him in a calm, matter-of-fact manner and who knows how to mentally unpick and analyze Graham, making him a formidable and highly deadly adversary.

Overall, Manhunter feels like something of a figurative chess game but with only Lektor moving the pieces on the board. Intelligent as well as provocative, and sporting a superb charismatic and challenging performance from William Peterson. Playing a man torn between his loyalty to his family, and his sense of duty as a human being. He is a man caught in a maelstrom, that is aptly paralleled by that of his prey who himself is a tortured figure, albeit for more self-serving reasons. We get something of a portrait of a contradictory figure who you will both revile and have pity for in equal measure. Dolarhyde is indeed a pitiful semblance of a man. But who is the hunter and who is the prey swiftly becoming blurred and in no small thanks to a certain Dr. Lektor. A scene where Will is forced to face the consequences of his decision, and talking to his young son about his own personal demons both real and figurative will be sure to stay with you. It feels like a father telling his child that those monsters your mother and I always told you that are not real. Well, they are.

If it does falter, Mann does occasionally lapse into stylistic pretensions. While Peterson's Jacobean-style monologues arguably veer a little too close to the overly histrionic. It's still a powerful, and visually striking thriller that anyone with a nostalgic fondness for the 80s, especially 80s synth will for the most part embrace. It unfortunately became something of a footnote compared to Jonathan Demme's Oscar-winning and superior The Silence of the Lambs, having been overshadowed by it. It doesn't quite deserve to be mentioned in the same name as it but has still been deserving something of the critical reappraisal it would later receive.

It is the lead-up to Christmas in 2023 and young Ruby Sunday is an orphan who was raised in care by her foster mother Carla and her now bed-ridden grandmother Cherry. Attempting to find the truth about where she came from proves fruitless. However, she and certain people around her begin to experience common bouts of bad luck. When a recently bi-regenerated Doctor arrives on the scene and begins investigating the phenomenon. He unravels a plot by a crew of alien Goblins to kidnap Lulabelle, the newly fostered baby girl taken in by Carla. Whom they plan on feeding to their mighty Goblin King, and whom the Doctor makes it his mission to rescue.

Essentially marking the first full-length debut story of Ncuti Gatwa, after his relatively brief introduction at the end of The Giggle just a couple of weeks previously. The Church on Ruby Road marks a welcome return to the Christmas Specials that Russell T. Davies, funnily enough, introduced along with David Tennant when he made his own debut back in 2005. Suffice to say Gatwa made something of a splash with what was a lenghier than normal initial introduction to his iteration of the Doctor. And with his first proper outing he continues to do so as he proves as he did in his role as Eric Effing in Netflix's Sex Education, that he is a charismatic force of nature. He has an instantaneous presence, and the rapport he has with Millie Gibson's Ruby Sunday couldn't be any more palpable. Although, as good as she is in the role, Gibson's personality traits and mannerisms seem oddly all to familiar to Jenna Louise Coleman who has previously played former companion Clara Oswald.

Putting those qalms to one side however, Ruby does have a very charming and endearing relationship with her foster mother Carla, as well as her foster grandmother Cherry. No doubt there may be those naysayers who complain that the interacial nature of Ruby having being raised by a black foster parent is Davies ladeling on "The Message". Although personally I found it to be overall very positive to see a youny girl having been brought up in a black family background, and having grown in to a healhty stable young woman.

Some may balk at the inclusion of a trans-woman being a member of a band that Ruby performs with, as with the inclusion of a middle aged man named Abdulah in a pre-credits sequence at the end. And they may or may not very well be right, but these are the least of some of the issues that Imay have had with this latest Christmas offering from Davies. For some of the positive aspects there were withThe Church on Ruby Road I did have several reservations. Not the least of all being the plot which is something of a mish-mash of Gremlins which incidentally was a Christmas horror movie, and the Jim Henson movie Labyrinth. Hell, the figurehead and leader of the motley crew of Goblins is himself called The Goblin King. Although he is far away from being the dashing, handome figure that David Bowie was in the 1986 fantasy movie. We even get a musical interlude just as the Goblins are preparing for their monstrous superior is about to feast on the helpless baby Lulabelle.

The story also feels all too camp, and frivioulous even by the series' own standards, while the way the Goblin threat is wrapped up is done so all too expediently and feels lazy and contrived. While I have further reservations in regards to Ruby's future story arc. One gets the feeling we're going to have another Rose, Girl who Waited, Impossible Child plot where the companion has some special connection to the Doctor that goes beyond them just essentially being a normal, average unassuming human being. Practically gone are the days where it seemed that the Doctor just had a connection with his companions which was puerely down to chemistry, and a mutual admiration, respect and affection for one another.

This however, is not to say that the story is awful. It's certainly far from the worst of the Christmas Specials that davies has himself written. The worst being Voyage of the Damned which featured the toe-curling sight of Queen Elizabeth II waving to the heavens and thanking David Tennant's Doctor. It's passable if you can get past Gatwa's Doctor proceeding to sing, and not that I am knocking his vocal talents because he certainly has them. However, this just felt a step too far in what is transparently be in the camp fun stakes. And if that doesn't make matters worse, Gibson who is passable enough in her vocals ends up joining in.

To round things off we have ex-Eastenders star Anita Dobson who is relable as ever playing Ruby's neighbour Mrs Flood who proves to be the first character to break the fourth wall in the series, since Willaim Hartnell did so in the Christmas episode of The Dalek Master Plan back in 1965. One wonders if she is going to prove to play some significant part in the series, and that she is nore than she appears to be. She most definitely knows what a TARDIS is which leads me to wonder if she is a Time Lady. Perhaps she's Romana or anothe rincarnation of the old woman we saw in The End of Time who had some connection to the Doctor. Or perhaps she's both.

Either way The Church on Ruby Road makes for a passable introductory story to the Doctors 15th personae. Although I must confess to having mixed feeling towards Gatwa. I don't doubt he is going to make an excellent and formidable Doctor. However, due to the fact that he seems to support the direction that Davies wants to take the series in, which includes the tiresome necessity to deliver "The Message", I am ill at ease as to its future. Considering it's drastic drop in ratings with the three 60th Anniversay specials having been the lowest for any series special in some time. If Davies doesn't get his act together, and concern himself with writing science-fiction/fantasy stories, rathet than hitting fans over the head with heavy handed woke politiking. There may soon not be a series ofr him to even be able to do so. Not that I would want him to do so in the first place. Anyway, I await 2024 and the latesr serious with some trepidation, as I don't doubt the majority of other fans.

In 2013 the Eleventh Doctor and Clara are brought to London's National Gallery by UNIT head Kate Stewart, who shows them a three-dimensional painting of Time Lord origin which depicts the final moments of the Time War on Gallifrey. In 1562 the Zygons are preparing to put a nefarious plan into motion, and the Tenth Doctor is courting Queen Elizabeth I. While on Gallifrey, the War Doctor is preparing to detonate the moment that will destroy his home planet and end the Time War. In the course of events, all three incarnations of the Time Lord's paths cross and both the Tenth and Eleventh Doctor work with the War Doctor, to detonate the moment.

Matt Smith's penultimate episode before he would make his final appearance in the 2013 Christmas Special The Time of the Doctor, this one-off special to commemorate the series' 50th anniversary saw the return of David Tennant as the tenth incarnation of the Time Lord. While also seeing Billie Piper return albeit not a Rose Tyler but the interface of The Moment, a sentient Gallifreyan weapon of mass destruction that takes on her visage. Guest starring as well is John Hurt who appeared at the end of The Name of the Doctor where in a shock revelation it was revealed that there was a secret version of himself who fought in the Time War and is known as the War Doctor.

The third televised multi-doctor story with the past two being The Three Doctors and The Five Doctors, by stories of this nature its plot is always going to feel somewhat contrived. Although to the writer and then showrunner Steven Moffat's credit he rises to the challenge and pretty much delivers the goods. Although one might wonder why the Moment takes on the appearance of past companion Rose Tyler, seeing as the War Doctor has yet to eventually meet her. Which makes Billie Piper's inclusion seem rather superfluous. Although it's to her merit she gives a sublimely alien performance as the Time Lord sentience. Matt Smith is in reliably top-notch form as the Eleventh Doctor, and he impresses in a showstopping opening credits sequence that sees him dangling from the TARDIS as it's airlifted via helicopter by UNIT. A stunt that he performed himself. Jenna Louise Coleman once again offers solid support as Clara, with the chemistry between her and Smith already having been more than cemented.

The early scenes between David Tennant's Tenth Doctor and Queen Elizabeth I in Elizabethan England offer some fanciful moments of humor, with Joanna Page clearly having a ball as the smitten monarch. It also makes a nice little callback to the series three episode The Shakespeare Code as well as The End of Time where his relationship with her was briefly mentioned. We also see the welcome return of the shape-shifting Zygons, who made their one and only appearance in the classic Tom Baker four-parter Terror of the Zygons back in 1976. And they make for a formidable presence as they match wits against the three Doctors.

This brings us nicely to both Tennant and Smith who as has been seen in interviews they've had together, have an excellent rapport with one another which translates greatly on screen. They bounce off of one another effortlessly, and Moffat peppers his script with some witty banter and back-and-forths between the two. While John Hurt's aged personae appear to be perpetually perplexed and bemused by his future self's behavior. Jenna Louise Coleman also ably gels with Tennant as well.

However, what proves problematic is that Tennant predominantly is given little to do and he feels as if he's really just along for the ride, which is a potential pitfall with multi-doctor stories. Moffat however somewhat makes up for this with an inspired plot device that necessitates the presence of all the Doctor's inclusions, which includes a very brief appearance of a a certain future iteration of the Time Lord. It works remarkably well within the context of the plot and avoids what could have been obligatory fan service.

As for the production values, the BBC has clearly pushed the boat out on this one with the relatively brief scenes of the Time War on Gallifrey having the kind of epic quality that you would hope for. The quieter scenes involving the War Doctor and the moment within a barn in the Dry Lands on Gallifrey are beautifully realized.

Although slightly flawed The Day of the Doctor ranks as the best anniversary special of the series and is bolstered by strong turns from its cast with Tennant stepping back into the role with ease, feeling as if he never left the role. And with a neat little cameo near the end, which somewhat foreshadows the impending exit of Smith's Eleventh Doctor, as Tennant's was foreshadowed in Planet of the Dead. This anniversary special makes for an enjoyable, nostalgic romp with solid imaginative storytelling from Moffat, and at just 75 minutes in length, it's admirable that he's able to cram so much plot in such a relatively short run-time. Setting the standard for Smith's departure which would see Peter Capaldi taking up the reins.