Imagin Sentai Kamen Rider Den-O (2007-08)

Dennis Potter’s Cold Lazarus (1996)

The second part of Potter's final work requires you to have seen all four episodes of the first part, Karaoke (HERE). I won't drop ruinous spoilers about CL's plot, but I'll need to refer to Karaoke, so please think carefully before reading anything beyond this point if you've any interest in watching Karaoke and have yet to do so.

As we saw previously, armed with the knowledge of his failing heath, Daniel Feeld prepared for the future of the people he felt close to. In contrast, the author was unprepared for what awaited him in his own future, 374 years after his death.

The introduction of cryogenics into Karaoke's plot may have seemed odd in isolation, but it makes sense when you consider CL. Scientists unearth the frozen remains of Daniel and plug him into a machine that translates activity in his brain into visual images that can be recorded and analysed by a people who've lost sight of what it means to be human. Their society is in chaos and, for reasons that aren't fully explained, their historical records are inadequate. They believe that memories of the past may help them better understand their present.

The fact that memory, being the subjective construct that it is, is an inherently unreliable source of information is addressed a little but not enough to build a foundation for the entire process to stand solidly on. Similar criticisms can be applied to various parts of CL's plot. At times its reach overextends the length of its component parts, and the whole suffers. When it isn't doing that, when it sticks to more relatable concerns, it explores the nature of free will and deepens our understanding of why Daniel was the person he was in Karaoke.

The scientists are an odd bunch, only a few of whom are any good at acting, but luckily it's those few that get the most screen time. They're at the mercy of a hedonistic evil bitch named Martina Masdon, played with zeal by Diane Ladd. Martina is one of the most memorable characters, and yet many of her scenes are largely superfluous. I'm unsure if that was a kind of commentary in itself, but I'm convinced that some of the subtext is purposefully imbalanced.

On the flip side, some views are so blatant that they're like a punch in the face. I can imagine the author having one final laugh as he contemplated the BBC's reaction to a story about a corporate attempt to control a dying writer's mind.

4 episodes, approx 50 minutes each.

3½ button pushers out of 5

Dennis Potter’s Karaoke (1996)

The first part of Potter's final work was broadcast two years after his death. He wrote it with the full knowledge that he was dying, which makes viewing it a deeply poignant experience. You might expect the situation to have pushed him towards tapping into the bleaker side of his talent, but there's a huge amount of darkly wry humour in the script. There's also a feeling that inevitability can't be conquered, so it should be thoroughly mocked instead, as best we can.

The main protagonist is a screenwriter named Daniel Feeld. Daniel, played with intensity by Albert Finney, is diagnosed with the same painful medical condition that killed Potter in real life, so it's fair to assume that it's at least partly autobiographical in nature. His most recent work is causing grief for both himself and the director of the TV adaptation (Richard E. Grant). It's fiction but, as is already established, fiction often has a modicum of reality in it.

When Daniel, in his real life, encounters people who resemble his written characters he begins to feel somehow responsible for what happens to them.

The director, the one filming Daniel's burgeoning fiction, is tethered to a single scene that repeats over and over for both him and us. As he struggles to make sense of it, the wider story and the parts each person plays within it, like we do in our actual lives everyday, begins to resonate more and more, driven forward by Daniel's need to prevent his words becoming someone else's reality.

The journey toward completion sends tendrils of consequence into the fates of everyone involved. The people at the centre of the drama obviously get it the worst, but even the ones on the periphery are affected.

I mentioned at the beginning that Karaoke is the first part of Potter's final work. The second part is Cold Lazarus (see HERE), which came out the same year.

4 episodes, approx 50 minutes each.

4 artistic temperaments out of 5

The Day of the Triffids (2009)

The BBC had successfully made a more faithful adaptation of John Wyndham’s excellent Triffids novel (1951) almost three decades before (1981), so they can be forgiven for straying from the path a second time around. The same thing with better production values might appeal to people allergic to the past, but it would be largely pointless from a creative perspective. What they did instead was team up with a Canadian production company, set the story in modern era Britain while somehow eliminating any real sense that it's actually British, and then foolishly shift much of the underlying focus away from Wyndham’s original intent.

Leaving aside the deviation, it was made at a time when the channel was trying hard to keep up with stylistic trends set by the kinds of US TV shows that were screening almost unceasingly on rival channels. Auntie wanted a piece of that audience, so they began to employ ‘edgy’ filming techniques that can be summarised as wobbly, handheld sickness. The most infuriating trend was the use of quick zooms in scenes that didn't require any such thing, scenes in which there’s nothing of importance to highlight. It’s as if a toddler has gotten hold of an expensive video camera and discovered buttons for the first time.

Making what’s essentially a walking carnivorous plant appear scary would be no easy task, but the Triffids are really quite good and believably frightening. The music does much of the work, but it helps that they tower over the humans by a few feet or more and have an extended reach. With skill and some luck it would be possible to outrun one, but when they shuffle around in packs like hoodies at a mall then escape becomes more a wild dance of defiance for most victims.

Comedian Eddie Izzard is cast in a serious role. He does a decent job despite his character being written as nothing more than a dozen clichés personified.

2 episodes, approx 90 minutes each. Episode 02 has some of the best individual scenes but is the weakest and most infuriating half overall.

2½ reaction tests out of 5

Daimajin Kanon (2010)

A Japanese tokusatsu show that has the usual explosive combat scenes scattered throughout, but the masked heroes aren't the main focus of the narrative. Instead, the story revolves around a pretty, young University student, Misaki Kanon, who moves to Tokyo in the hope of becoming a successful lyricist and singer. In order to survive in a harsh environment we need to adopt an equally harsh attitude; for Misaki the city is that environment. Her usual sensitive, fragile personality will be eaten alive if she doesn't do something uncharacteristic to protect it.

If you've watched any amount of anime you’ll likely have encountered a similar set-up, but Misaki isn't as simpering and hateful as the full-blown animated stereotype typically is. The ups and downs are mostly predicable and there are times when you could legitimately accuse her of making a mountain out of a molehill, but the setbacks and departures from the daily routine add to the overall story when you consider her role in each one. Remember, character growth needs challenges, irrespective of whether they're real or imagined.

Action is courtesy of a small group of masked heroes known as Onbake. They go where needed to fight Ipadada, evil spirits that can possess a human and use him/her to summon soul drones. If the Ipadada aren't stopped in time they’ll consume and destroy everything in their path. There is, of course, a connection between the Onbake and Misaki that ties everything together, but, like I said previously, they play second fiddle to her story.

The all-important first episode sets the tone for what follows. It’s thoughtful but also light-hearted. It never feels the need to quicken the pace too much, so it may bore anyone seeking a typical action series. It’s not complex or filled with hidden depths but nor is it too self-indulgent or wispy. Some stories are best told simply; Daimajin Kanon is one of them. It came along at the perfect time for me and I really, really enjoyed it.

The current Wikipedia article claims the series is a retelling of the original Daimajin movie (1966), but if you've viewed both film and series you’ll know that’s not strictly true. There are similarities to how Majin (here called Bujin) transforms and in the scarcity of his actual appearances but the differences in every other aspect of his personality outweigh them. It's a new story, not a retelling. The Daimajin name was in all probability an easy way to create interest. Change his appearance and you’d never know he was supposed to be that old stone god.

26 episodes, approx 24 minutes each.

3½ responsibilities out of 5

Doctor Who: Dreamland (2009)

An animated mini-series featuring the Tenth Doctor as he enjoys some downtime in 1950s America, but in typical Dr Who style it doesn't stay quiet for long.

The story is split over six parts that when collected together are approximately the same length as a regular Dr Who episode (42 mins). Watching them all in one sitting is simple, and doing so means the story peaks regularly at the intended cliff-hanger moments. The twists and turns are well-placed, and with some minor tweaks it could've made a really decent live-action episode.

Thankfully, the voice work is good. David Tennant gives the same kind of enthusiastic performance that he gave the parent show; and the unmistakable tones of David Warner give life to the villain.

The only criticism I have is the quality of the animation. Despite being made in HD, it resembles some bad FMV from an early PS2 game. The gangly arms and clunky movement are an insult to the quality of everything else. The story's strong enough to keep you watching, but the first few minutes had me shuddering at how appalling the character models are.

2½ accidents of dimensional geography out of 5

Deadwood: Season Three (2006)

Deadwood set the bar as high as it could go with the very first episode of Season One, and kept it close thereafter, right to the very end of this Season, which was to be the last because HBO cancelled it. Of all the TV shows that ever got axed, in all the years that I've been a viewer, I mourn the loss of Deadwood the most. The only thing it did wrong was be too damn clever.

The main story arc is the continued fight for control of town resources, a fight played out both diplomatically and via the business end of a knife. There’s a saying that the enemy of my enemy is my friend, but in Deadwood the enemy of my enemy is another fucking enemy waiting to snatch an advantage, hoping to profit from it either directly or indirectly. Multiple threats mean stakes are higher and casualties more notable. Not everyone makes it out alive. There are some quiet moments near the end, but only because tensions are purposefully buried.

The main cast members are unchanged. Joanie Stubbs (Kim Dickens) finally gets something interesting to do, which left just the character of Alma Garret (Molly Parker) as the only weak leak in an otherwise sturdy chain.

There’s not much of Brad Dourif this season. You get the feeling that he’s always around but he has less screen time.

I have to give special mention to Calamity Jane (Robin Weigert). Of all the women in the series, Jane is the most exceptional, for reasons I won't go into.

Let’s not forget the humour. William Sanderson had me in pains of laughter. His weasel attitude and ability to swing from self-effacing to self-important in the same sentence is pure genius.

Brian Cox joined the cast. He and his troupe seemed a little superfluous, but it’s Brian Cox, so even when he’s doing little of merit he’s still a joy to watch. I'm sure his role would've increased had it been given time to do so; there were definite hints in that direction.

There was the hope that some TV movies would get the green light to wrap up the threads of the story but that didn't happen.

12 episodes, approx 45-55 minutes each.

5 fights on the promenade out of 5

Deadwood: Season Two (2005)

With characters and motivations already well-established in the first season, all that was really needed was to further increase the levels of antagonism and the uneasy alliances between disparate parties for S2 to build upon and keep fans happy. A new arc, picking up on something that loomed at the end of S1, gave the writers that basis upon which to heap more of the same.

In theory that works perfectly. However, partway through there's a slow but obvious slide into the dirtiest of words: 'soap' and 'opera.' A large portion of the middle of Season 2 feels like a soap opera with small stories of residents that aren't as crucial to the drama as they’d like to be. They’re shuffled around so as not to interfere too much but still be sympathetic to the larger issue of annexation that threatens to tear the camp from the grip of saloon owner Al Swearengen.

Speaking of Al (Ian McShane), he has a subplot with Doc Cochran (Brad Douriff) that had me in awe of their acting abilities. It also had me cringing; not because it was bad, but because it was so very good and so very believable.

New faces arrive in town; some of them set about trying to ingratiate themselves to one or other of the opposing parties, while some even feel it probable that they could position themselves above the established order.

Despite the middle section having some filler, the remainder retains the same level of quality writing that Season 1 showcased. When it gets back on track it again excels in every way. The wonderful 1870’s vernacular is used to even more comedic effect, often at the expense of E. B. Farnum (William Sanderson).

12 episodes, approx 45-55 minutes each.

4½ relative conditions out of 5

Deadwood: Season One (2004)

A violent Western set in 1870s South Dakota, home to prospectors and traders. Being situated in Indian Territory means the law has yet to take a foothold, so it also attracts the criminal, the corrupt and the trigger-happy outlaw.

Most of the cast are exceptional, not just some of the principal actors. Ian McShane plays foul-mouthed saloon owner Al Swearengen, the show’s main villain; although nothing is really that black and white in Deadwood. It's the role he was born to play. All thoughts of Lovejoy will wash away instantly.

Brad Dourif’s Doc Cochran is my favourite part of the show. If you’re familiar with Dourif from his film work you’ll know the power he can bring to a scene.

I should also mention Robin Weigert, who plays Calamity Jane; she steals most scenes she stumbles into with a lashing tongue and a wicked humour.

The presentation is flawless. The cinematography, particularly in the early episodes, helps it transcend the usual TV limitations. Every inch of the frame is purposefully lit. And the town bustles with life so it never feels empty.

It may take some viewers a little more time than others to become accustomed to the vernacular used, but pay close attention and you shouldn't have too much of a problem. It's certainly much more fascinating than what we use today. The excessive use of profanities isn't there just to offend, they help place people socially and are an integral part of characterisation. You should also aim to pick up on things implied though subtle glances and quiet movement because what's unsaid is as weighty and as important as what's overtly revealed.

Deadwood is essential viewing for Western fans, provided you don't baulk at the use of language. Alongside the violence, the double dealings and the remorseless aggression are moments of genuine sensitivity, often tinged with sadness, a combination that plucked an opera on my heartstrings during the finale.

12 episodes, approx 55 minutes each.

5 hungry pigs out of 5

Doctor Who: The Infinite Quest (2007)

A short animated Doctor Who serial featuring the Tenth Doctor and his companion, Martha Jones. Together they traverse time and space, hunting for data chips and getting into the usual kind of trouble on the way.

You'll be glad to hear that both David Tennant and Freema Agyeman voice their respective characters from the live action show. Plus, Anthony Stewart Head pops up; it's always fun to hear him lend his vocal chords to the Who universe.

The story is set some time during Season 3 of the parent series but doesn't fit snugly into series continuity, so don't try too hard to place it chronologically. It's best to just accept it for what it is, which is a mildly entertaining Dr Who animation.

The short format doesn't leave much time for anything to develop beyond an immediate danger being followed very quickly by an immediate solution. Then onto the next episode for a similar thing to happen.

The animation is decent enough but it isn't able to convey the wide-eyed wonder that Tennant is so very good at; even when the live action scripts were dodgy his infectious nature and comical facial expressions kept the momentum up.

Long time fans should get a smile or two from it, but I don't imagine many of them will return for a second or third viewing.

13 episodes, approx 3.30 mins each.

2 fleshy bipeds out of 5

Frank Herbert's Children of Dune (2003)

Most of the principal players return for this continuation of the Dune saga, although not all characters are played by the same actor/actress. We get book 2 (Dune Messiah) and book 3 (Children of Dune) merged because it makes sense to do so. Unfortunately, that means it has a lot of story to cover in a short time.

It begins 12 years after the events of the previous miniseries. The political situation is ongoing, and although changed is no less problematic. The religious beliefs that surround Muad'Dib are beginning to take its toll on the reluctant Messianic figure. The "abomination" has grown up and behaves like a Bene Gesserit bitch should, with problems of her own that have little to do with affairs of state. History is written on the sands of Arrakis, but one thing is ever present, "…that every revolution carries within it the seeds of its own destruction."

Things that work: the pacing is good most of the time; Leto II is likeable, and his decision making seems organic and considered; the score, this time by Brian Tyler, is even better than the last one; the relationship between the twins is believable; and the worm design is one of the best I've seen.

Things that don't work: again, the lack of a voice-over narration is a huge handicap for the story; the painted canvas backdrops of the previous series have been replaced with bad CGI; the love triangle is underplayed; Alice Krige and Susan Sarandon add star power but they're useless, saying all the right words but with little of the gravitas or understanding needed behind them; the Tleilaxu aren't as mysterious as they should've been; and that damned dwarf!

Don't expect to make sense of everything unless you've seen the first series. Fans of the book will get the most from it, plus they will know the magnificence that follows after the credits roll.

3 episodes, approx 82 minutes each.

2½ sins of the mother out of 5

Frank Herbert's Dune (2000)

There is a substance, a spice, found in only one place in the known universe, on Dune. Arrakis. Desert planet. The spice is the most important substance known to man. It prolongs life and enables interstellar travel. Without it, interplanetary trade would cease and empires would fall. This makes people nervous. Nervous people do desperate things. The Padishah Emperor controls Dune. He's more nervous than most. Those he favours are permitted to mine the spice. Those that oppose him are quickly silenced and left to die. There are a number of political houses that the Emperor can use to keep the spice flowing. Each house has its own agenda. Each house has its own problems. Each house hates the other. There's a prophecy that tells of a time when a man will come - a saviour. That time is now.

Dune is so full of plot that I had to skip ninety percent of it just to type that. I should've used bullet points. It's about politics, religion, love, death, legacies, oppression, socialism, revolution, truth hidden and truth revealed, and so much more. I hate politics, but I love Dune. It makes a dull subject exciting.

In reality, the complexity in the Dune book makes it unsuitable for a film medium, but they try. It lacks the voice-over that the previous filmed version had. Despite what you may think of that other version, Lynch knew that a voice-over was essential; if you've read the novel, you'll understand why.

The cinematography is by the renowned Vittorio Storaro (Apocalypse Now; The Last Emperor) but what he's chosen to do with the limited budget will irk some folks. You may laugh at the painted backdrops of the set-bound production, but if you do then you're not seeing the bigger picture.

Visually, each planet has its own unique style, so we can tell instantly where we are without the need for repetitive establishing shots. The costumes follow the same pattern, and the people chosen to wear them are (mostly) well-suited to their book counterpart. A longer running time means it can be more faithful to the original text. It invents a subplot for Princess Irulan that wasn't in the book, but it's woven around the main themes well so it never feels like an intrusion.

3 episodes, approx 98 minutes each.

3½ signs of worm out of 5