Looking back at… Who Framed Roger Rabbit

Originally published on Set The Tape

I’m not sure how old I was when I first watched Who Framed Roger Rabbit but the thing that stuck out in my mind straight away was Judge Doom (Christopher Lloyd). I’ve seen Christopher Lloyd in other roles, and have found him charming and enjoyable to watch, but his performance as Judge Doom still gives me the creeps, even decades later. There’s a lot about this film that’s stand out and iconic, but Doom is always it for me.

It’s strange to think that Lloyd wasn’t the first choice in the role, though it is a shame that we can’t see a version where Tim Curry got the part, but it’s not the only part of the film where the first choice was someone else.

The film had multiple drafts, directors turned the film down, none of the principal cast were the first choices. It’s amazing that despite the ups and downs in the pre-production and the difficulty in obtaining the rights to use all of the animated characters the film ended up being as good as it is. Thankfully, the end product was a critical and commercial success.

Who Framed Roger Rabbit isn’t the first film to combine live action film and traditional animation, there’d been dozens by the time it came out, but it was the first to do things differently, to break the rules. The camera moved in scenes so that the animation didn’t look like it was placed on flat backgrounds, the lighting and shadows moved like they would in fully live action scenes, and the cartoons interacted with real objects as much as possible.

The film looked at the rule book and threw it away, it gave audiences a new experience and it still stands the test of time because of this. The people behind the film had to tell a good story and make new technology at the same time. It’s both a piece of great entertainment, and a breakthrough in film making.

What makes Who Framed Roger Rabbit last isn’t the technology behind it, it’s the story and the characters. Set in an alternative 1947 Los Angeles, where ‘toons’ are real living creatures that live and work with real people, at its heart it’s a mystery story. A detective noir wrapped in bright, colourful cartoons.

The plot revolves around the murder of a movie mogul, a crime for which Roger Rabbit is framed. Anyone who is familiar with detective mystery stories will be familiar with where the plot goes, revealing an ever expanding mystery; but Who Framed Roger Rabbit isn’t just content with going through the motions of a mystery story, but goes out of its way to tell a deep and engaging story, a plot with multiple lays and twists.

Yes, it’s a kids movie, but beneath the bright colours and cameos from classic characters such as Bugs Bunny and Mickey Mouse it’s got emotional depth and adult themes. Who Framed Roger Rabbit is a film that appealed to me as a child because it’s over the top and wacky, but carries on being a film I’ll watch again and again as an adult.


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Ghostbusters: Answer The Call – Book Review

Originally published on Set The Tape

The team from the 2016 Ghostbusters return for another comic outing following their inclusion in the Ghostbusters 101 crossover event. Whilst we all know how the internet reacted to the newer version of the Ghostbusters the team itself was very entertaining, with some great quirks and character traits, all of which are further explored in Ghostbusters: Answer The Call.

After responding to a call at an old brownstone in New York City, the Ghostbusters find themselves going up against a spirit a lot more powerful than they were expecting, a Schreckgespenst, or Boogyman. The spirit is the ghost of a mad scientist called Dr Kruger who has found a way of invading people’s worst fears and trapping them in their nightmares (yes, the characters do address the fact that the ghost that invades dreams is called Kruger).

This nightmare invaision ability gives the story ample opportunity to explore the psyche of the characters, giving more insight into the characters than the actual film did. We learn about their insecurities, their past traumas, and in the case of Holtzman, what makes her so determined to be strange and different.

We also learn of an event in the past that connects all of the Ghostbusters to a time long before the events of the first film. Whether or not it means there was some kind of fate involved in the four of them coming together is left open, but it does add an extra layer to the characters then there was before.

Kruger seems to challenge our heroes in ways that the villain of the movie didn’t, he makes them doubt themselves, to lose faith in their abilities and even come close to giving up on being Ghostbusters altogether. The stakes feel bigger than anything that the team has faced before, and this makes it feel like a worthy follow-up. If this story was used for a sequel film it would make for a great second movie.

The story has some good action in it, as well as the deeper character beats, with some over the top moments that really are too silly but work brilliantly. The proton whip that can be used to drag spirits out of people they’ve possessed is a particularly cool and inventive device, though the ghost killing zamboni might be Holtzman going a bit too far, especially as it tears a hole in the roof.

Corin Howell’s art is great throughout, and is able to capture the likenesses of the characters and infuse them with energy. It’s not just the Ghostbusters that Howell makes pop on the page, his ghosts are particularly good, and whilst Dr Kruger looks good it’s his spooky ghost child that really steals the scene.

Ghostbusters: Answer The Call is a great follow up to both the original film and Ghostbusters 101. It manages to be full of action, character development, scares, excitement, and even some emotional depth. Whilst I found the film enjoyable it didn’t go too deep into the characters, and this book manages to make up for that. It may even appeal to some of the people who hated the film, though that’s perhaps asking too much.


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Torchwood: The Culling – Book Review

Originally published on Set The Tape

I loved the Torchwood show, I think that it’s a very underrated part of the Doctor Who universe. Yes, the first season wasn’t the best, and started off very shaky, but the series just went from strength to strength. As such, I was excited to read this new addition to the Torchwood story.

Unfortunately, I’ve not read the first two volumes of the Torchwood comic, and as such felt a little lost for ‘The Culling’. The third part in an ongoing story, I was unsure of who every character was, only had half the information on what had previously happened through some of the dialogue, and was left trying to put the pieces together myself.

This isn’t a fault with the book, as I’m sure that they’re writing for an audience that has read the previous parts of the story rather than a casual reader jumping in at this point; but every comic has to feel somewhat accessible for new readers. ‘The Culling’ fails on this point, and would not have been a book that I’d have continued to read if it was not for the need of reviewing it. Hopefully the next volume of the Torchwood comic will make things easier for readers and give them a better jumping on point.

The story of ‘The Culling’ follows on from the defeat of the Vervoids in the Arctic, the result of which being a human/Vervoid hybrid created from the DNA of both Jack and Gwen. As soon as I discovered that the story would be focusing on the ‘child’ of Jack and Gwen I groaned a little inside. THe Jack/Gwen potential relationship was one of the things that I liked least about the early part of Torchwood, and s something that I was glad to see less focus given to. Gwen and Rhys were a great couple, and I loved their relationship; and Jack and Ianto were brilliant together, so I was worried that this ‘child’ story could put these relationships in danger.

Luckily, the ‘child’ in question, called Sladen, is not a real child of the two, and the characters never act as if she is. She’s a genetic accident, made purely by chance. The story doesn’t push the idea of Jack and Gwen as her parents and it stops the story from falling into some poor pitfalls.

Whilst the story manages to dodge the bullet on this point, it’s somewhat lacking elsewhere. There’s little to no character develpment within the story. The only characters that have any real sense of personality are those from the show, and only because they’ve had characterisation in the series, whilst the characters that are new to the comic are fairly bland and one dimensional.

The book instead relies upon the story to grab attention and to entertain rather than the characters, but the story moves way too quick in places, jumping from event to event within the space of a few panels. In one scene Jack and Gwen say that they are a few hours behind Sladen, yet are confronting her in the very next scene. The pacing just feels off in a lot of places, and this works to the detriment of the overall experience. The conclusion is also somewhat of a let down, with a very brief confrontation that doesn’t feel like it has any real stakes before suddenly being over.

Torchwood: The Culling feels less like a competent follow-up to a beloved series, and more a rushed and ill defined story. It could have been a lot better, and probably would have been if it had six issues to tell it’s story rather than just four. It could have made things more accessible to new readers, taken time to explore its characters, and could have paced things much better. As it is, Torchwood: The Culling feels lacking in a lot of ways.


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TV Rewind… Agents of S.H.I.E.L.D. 1×02 – ‘0-8-4’

Originally published on Set The Tape

The second episode of Agents of S.H.I.E.L.D. takes a different approach to the first, swapping the city locations and ticking time-bomb threat and instead opting to move the action to the jungles of South America, with tense shoot-outs and high altitude action.

One of the main criticisms about the first episode was that it was a little slow paced and didn’t have enough action (not something that I’d agree with myself, but can see why some people would come away thinking that), and it would appear that the show runners were aware that the first episode wasn’t the most action-packed, and intentionally made ‘0-8-4’ different.

This shift is apparent in the very first scene, where the events jump forward several hours to show a dramatic explosion on the Bus, before then going back and showing the events that led up to this point. Personally, I always find it annoying whenever a episode opens with something dramatic before showing a ‘XX hours earlier’ title, but I can understand the decision to do it here. The last episode was good, but slow, so ‘0-8-4’ needed something big to open on.

‘0-8-4’ focuses on a mystery artefact discovered by S.H.I.E.L.D., and Coulson’s team are sent to investigate. The mystery of the episode centres around what the 0-8-4 actually is, with Coulson (Clark Gregg) dropping MCU connections by pointing out that the last 0-8-4 they found was a hammer. It turns out that the object this time is an old Hydra device (more movie connections) lodged into the wall of some old ruins.

Things get complicated for the team with the arrival of Peruvian authorities, who also wants the device, led by Camilla Reyes (Leonor Varela), a former girlfriend of Coulson’s. Despite some rebels causing a stir, it’s Reyes and her men that are the real threat to the team, taking control of the Bus and locking everyone but Coulson in the cargo hold.

This is where the episode tries to bring the team together, with the help of Skye (Chloe Bennet) who is still trying to find where she fits in. Despite the message that each of the team has their own strengths and that by working together they can overcome their challenges Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge) remain underdeveloped, and still come across as interchangeable. Whilst the two of them will develop over the rest of the season they feel more like the same character at this point, and would probably be a singular science/tech character in another show.

Fortunately, the episode does give Melinda May (Ming-Na Wen) the opportunity to shine as the lone bad-ass hero breaking her way out of her bonds and freeing the rest of the team. She’s still very underdeveloped at the point, with stern silence being her main character trait, but she plays it so well that she manages to remain entertaining.

The episode also takes a moment to address the youth of half of the cast, something that some people complained about before the first episode even aired, by having both Reyes and Nick Fury (Samuel L. Jackson) pointing out that half the team are young and inexperienced. I can’t help but feel that these moments are specifically aimed at those people who complained about the cast before filming had even begun.

The scene with Samuel L. Jackson is also important because it’s further grounding the show within the Marvel Cinematic Universe with the inclusion of one of the most iconic characters (though not the biggest). It makes sense that he’d be the actor that they’d bring onto the series, not just because he’s the head of S.H.I.E.L.D., but because as soon as Jackson puts on that eye-patch he’s instantly his Marvel character.

Agents of S.H.I.E.L.D. has definitely improved with its second episode, but still hasn’t managed to meet its potential. It’s nice to see the show moving forward, but hopefully it will be able to improve it’s character development fairly soon.


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Go Go Power Rangers Volume One Details Released

The details for the first collected volume of Boom! Studios 'Go Go Power Rangers' has been released. The book collects together issues 1 - 4 of 'Go Go Power Rangers', written by Ryan Parrott.

'Jason, Kimberly, Zack, Trini, and Billy have just become the Mighty Morphin Power Rangers, after just starting high school. Chronicling their formative days as teen heroes, the Rangers will have to balance the responsibilities of growing up with defending the world from the threat of Rita Repulsa. Rita plans to the defeat the Power Rangers, and it is one they will never see coming.'

'Go Go Power Rangers' is set for release 20th September 2018.


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