Hammer House of Horror: Volume 4 of 4 (1980)

The Thirteenth Reunion
Ruth (Julia Foster), a reporter for a small newspaper's 'women's section' goes undercover in a weight-loss clinic to find out if their unusual methods work or not. So far, so normal. But the clinic is up to something shady, so Ruth digs deeper.
The amateur sleuth vibe that you'd expect to accompany that kind of story is almost completely absent - whether by fault or design, I don't know. What remains is a woman who's out of her depth but determined to get the story, in the hope of helping her career. It's not a very engaging 50 mins, for the most part, only really coming alive in the last third. — 2½ virtues of necessity out of 5 —

Carpathian Eagle
Inspector Clifford (Anthony Valentine) investigates a series of murders in which male victims had their heart cut from their chest. At the same time an author (Suzanne Danielle) is researching a Carpathian Countess who did some grisly things in her spare time. The gathered evidence suggests supernatural means, but the sleuthing detective explores the psychological side, too. Not the typical Hammer Glamour model, the seductive murderess nevertheless successfully adds a touch of sexy class to the production. It also features Siân Phillips as a descendent of the bat-shit crazy Countess. — 3 jobs for the ladies out of 5 —

Guardian of the Abyss
If GotB was an attempt by Hammer to create something that feels like another Dennis Wheatley adaptation, then they succeeded, with bells on. It's not a carbon copy of The Devil Rides Out (1968), but it does have similarities; i.e. black magic rites, a private individual carrying out a time-sensitive investigation, and an initiate (Rosalyn Landor, who played Peggy in the aforementioned film) on the run from a hypnotising occultist. It's familiar thematically but still manages to hold its own in the TV medium. Overall, great stuff. — 3½ horror scopes out of 5 —

Growing Pains
A comfortably rich research botanist named Terence Morton (Gary Bond) and his diplomat wife Laurie (Barbara Kellerman) adopt a young boy named James (Matthew Blakstad), a replacement for the son they tragically lost. James is a polite youth, but his arrival brings with it some very strange happenings.
It's an average end to the short-lived series, but the acting is generally good and the predominant theme is well-explored. The ending, despite having some avoidable flaws, is also pretty dramatic. — 2½ living proofs out of 5 —

4 episodes, approx 51 minutes each.

Kamen Rider W: Hidari Shoutarou's Hardboiled Delusion Diary (2009-10)

These shorts were included as extras on W's myriad DVD releases. Because the plot points that are mentioned in each delusion don't always line up with the Dopant suits that appear, I recommend viewing these post-series for the sake of ease. If you absolutely insist on risking it, just don't watch number 11. It contains a catastrophic spoiler for the endgame. You've been warned.

12 shorts, ranging from 3-5 minutes, apiece.

Hammer House of Horror: Volume 3 of 4 (1980)

Rude Awakening
Denholm Elliott stars as an estate agent named Norman Shenley who gets stuck between a nightmare and a fantasy. On one side is Emily (Pat Heywood), his wife of many years, while on the other is Lolly (Lucy Gutteridge), the young, sexy secretary that he has eyes for. Norman's life is thrown into chaos when he's asked to survey a neglected manor house filled with fake cobwebs and accusing voices.
Directed by Peter Sasdy, whose Hammer credits include Countess Dracula (1971) and Hands of the Ripper (1971), the story plays around with what's real and what's imagined, hiding truths in the line between the two. — 3 bed roles out of 5 —

Charlie Boy
A timely windfall helps middle class Graham (Leigh Lawson) out of a financial pickle, but it comes with supernatural baggage; i.e. a hideous fetish statue - that's the totemic/juju kind, not the 'ooh, baby, spank me!' kind. Thereafter, we're treated to tragic events with ominous build ups that may just be coincidence but most likely aren't, because that would be boring. — 2½ travelling violations out of 5 —

Children of the Full Moon
A rather shocking opening scene (in any era, not just 1980) sets the tone for an entry that is by turns standard drama, creepy, gothic-esque, feral, and disquieting. The differing styles each serve a purpose and don't clash too much, thanks in part to the director (Tom Clegg) and the actors, including great work by Diana Dors.
It's an altogether classier piece than the previous episode, despite having a threat that's equally as overused in the horror genre. — 3 mutton broths out of 5 —

3 episodes, approx 51 minutes each.

Hammer House of Horror: Volume 2 of 4 (1980)

The Mark of Satan
Working in a hospital mortuary would be a difficult enough job ordinarily, but for new guy Edwyn Rord (Peter McEnry) having to deal with a philosophical pathologist and the hidden but encroaching forces of evil that are conspiring to destroy him makes it even more problematic. It's not just at work. Edwyn's home life isn't as secure as he'd like it to be. Dir. Don Leaver manages to accentuate the unease that the infatuated worker feels, transferring it to the viewer at the correct times and in the correct doses.  — 3 counts of evil out of 5 —

Witching Time
An overworked and stressed out film score composer (Jon Finch) has problems with women. Not only does he suspect his wife (Prunella Gee) of sleeping with another guy, but a fiery-haired mystery woman who claims to be from the 17th Century unexpectedly shows up and makes his life even more eventful.
Things turn more sinister in the second half, but overall it's not as good as the previous episode. The highlight is undoubtedly the scornful redhead, Lucinda (Patricia Quinn), who you'll maybe know better as Magenta from The Rocky Horror Picture Show (1975). — 2½ cackles out of 5 —

Visitor from the Grave
A woman with a history of mental illness experiences a traumatic event when an uninvited visitor calls at her pleasant English cottage home.
It's another psychological story, mostly, with the 'horror' this time manifested as a morbid fear of slipping back into an unstable mindset and an equally debilitating fear of one's wrongful deeds being found out. It was my least favourite of the three, and is somewhat predictable, but the acting, particularly from Kathryn Leigh Scott, is enough to keep it from being boring. — 2½ chill pills out of 5 —

3 episodes, approx 51 minutes each.

Hammer House of Horror: Volume 1 of 4 (1980)

The House That Bled to Death

A haunted house story set in a modest home on a typical suburban street. The studio uses the lower budget to its best advantage; the familiarity of the surroundings being more relatable to many folks than an ancient and gothic castle on a hill. It strives for a perpetual sinister aura but falls a little short of the mark most the time... until the blood! — 2½ leaky pipes out of 5 —

The Silent Scream

Hammer Films regular Peter Cushing brings his talents to the small screen alongside another fine actor, Brian Cox. Cushing is a pet store owner. Cox is an ex-con, fresh from the big house.
The camerawork is solid throughout and there's an occasional dramatic flair from the lighting department.
It's certainty a horrifying experience for the characters, but is more of a suspense story for the viewer, even providing some audible triggers that move us closer to the edge of our seats each time they ring out. — 4 natural instincts out of 5 —

The Two Faces of Evil

Director Alan Gibson had worked for Hammer more than once prior to The Two Faces, but the single episode is without a doubt his best work for the studio. It's really amazing. I'll even go so far as to say it's almost Nic Roeg quality at times.
The hospital setting was beautifully lit and shot; the blinding white existing alongside the gray and black was reflective of certain parts of the story. I found the daylight scenes there intensely creepy; a feeling brought on by more than just the canted camera angles.
Like the previous episode, it's not cut from the traditional gothic horror template. It's a psychological terror experienced by a woman in her role as wife and mother as the world she knows and trusts begins to change. — 4 upturns out of 5 —

3 episodes, approx 51 minutes each.

HANNIBAL: SEASON TWO [2014]

"The most beautiful quality of a true friendship
is to understand and be understood with absolute clarity."

Bryan Fuller's grotesquely beautiful psychological horror series Hannibal returns for a second helping of disturbed mind-games, exquisitely prepared stomach-turning feasts and bloody nails digging dip into the troubled psyche of it's characters and viewers alike.  Inspired by novelist Thomas Harris' characters from Red Dragon & Hannibal, the series builds into a discomforting world of it's own and seems to transform into a creature far apart from the films most folks are quick to compare it to.  

The season starts off, directly where the previous year left off at, with the heavily damaged crime scene profiler Will Graham (Hugh Dancy) incarcerated in a mental hospital, framed for the atrociously violent crimes that his brilliantly manipulative flesh-eating psychiatrist Dr. Hannibal Lecter (Mads Mikkelsen) set him up for.  Not a single soul believes Graham (who questions himself) is innocent, even his boss Jack Crawford (Laurence Fishburne) who blames his own agenda for pushing Will too far into the minds of the deranged killers they chase.  Here we're invested in a clever reflection of what is come, as we see Graham & Lecter speak to each other through bars, politely playing each other ever so carefully with love, hate and everything in between.   The tale digs deep in to a some darkly rich storytelling about human weaknesses, coming to terms with oneself, unhealthy obsession and where the thin line between friends and enemies is drawn.  

With a lesser talented cast, some of the more absurd moments wouldn't really work but with Fuller's imagination it places it in a nightmarish world we know doesn't exist but it feels right somewhere deep within our minds.  Unlike last year, we aren't so focused on individual cases and instead the writing is more interested in digging into the psychological aspects of the characters and how they slowly twist and turn into what Dr. Lecter wants them to be.  It's a difficult but successful task to make us believe Hannibal is as intelligent as he is but what is even more impressive is we never feel the other characters are dim-witted to not even suspect him in the slightest.

   

The show is wise to rarely ever show Hannibal's murders committed on-screen, so we do feel something for him but when we do catch the odd glimpse here and there, we're absolutely terrified and shocked at the violence erupting from the normally calm-mannered man we've grown attached to.  That's not to say there isn't any violence because the blood comes in the gallons, so much that even as a horror-hound myself, I find myself very uneasy in several moments.  It's like they break your mind down with psychological horror then absolutely traumatize you with graphic violence and to say the least, it works so very, very well.  This is especially proven in the heart-breaking bloodbath of a season finale that will leave you aghast and most likely very upset long after the credits have rolled.

The cinematic photography, on-the-nose editing, moody yet vibrant color palette and effectively frightening soundscapes from composer Brian Reitzell, makes Hannibal a rarity among the legions of more accessible shows it bumps shoulders with.  It's the cable TV show snuck onto basic cable that critics and fans alike have constantly called the best series on network television that no one's watching.  Seeing as season one and two combined play like a first chapter, it seems to be just the appetizer to what can only be an intriguing main course.  

4  man-eating pigs out of 5

HANNIBAL: SEASON ONE [2013]

"Here we are:
a bunch of psychopaths
helping each other out."

When it was first announced that Thomas Harris' Hannibal Lecter character was being developed into a prequel television series all were very leery of it's presence.  It was even stranger when Bryan Fuller, creator of such quirky quality shows as Wonderfalls & Pushing Daisies, was to be the showrunner.  Or how could a series about a cannibal ever pull off what it needs to, in order to be successful in a primetime slot on network television?  To add to all that, it's widely considered that Sir Anthony Hopkins already exquisitely defined the character in it's own popular film franchise.
The series had everything running against it and much to everybody's surprise it's a wonderfully developed adaptation that's much more than anyone could have ever imagined.

We've already seen Dr. Lecter imprisoned on film, so Hannibal takes us back to the days leading up to his arrest, following most of the characters introduced in Harris' Red Dragon novel.  Danish actor Mads Mikkelsen is given the daunting task of filling the role of Dr. Hannibal Lecter and he re-imagines it with a subtle yet immensely creepy grace.  British actor, Hugh Dancy (who co-starred with Mikkelsen in 2004's King Arthur) plays FBI special investigator Will Graham with a truly complex and memorable sense of anguish, heart and frightening confusion.  Veteran actor Laurence Fishburne does a magnificent job at portraying Special Agent-in-Charge Jack Crawford while Fuller interestingly takes the male characters of Dr. Alan Bloom and tabloid journalist Freddy Lounds, then gives the roles to actresses Caroline Dhavernas & Lara Jean Chorostecki.  A recurring slew of genre guest stars round out the cast, including Gillian Anderson, Eddie Izzard, Scott Thompson, Anna Chlumsky, Kacey Rohl and Gina Torres.  They all play psychologically disturbed people, good & bad, who are all drawn to each other for one reason or another and it's quite interesting to see the dynamics at play.  

Great acting and characters aside, the series is also blessed with some tightly wound storytelling that is both horrific and beautiful.  The dizzying conversations between the characters gives one a lot to think about, which we quite often find ourselves uncomfortably exploring long after the episode is over.  At first it appears the series wants to focus on the crazy killer of the week but as the story progresses we slowly learn that each case has it's dangerous repercussions on the trembling psyche of it's characters and it all meets up for a jaw-dropping finale.

Aesthetically the series is top-rate.  In fact, I'd go so far as to call it Pushing Daisies' evil twin, with it's strong focus on set design, color and ever-present music.  They might be working on a very low budget but you would never guess it as it really is one of the most gorgeous looking shows on the air at this time.  

The violence and gore is another thing.  I really have no idea how they get away with the things that they do here.  It really is stomach-turning, so much that Fuller himself actually pulled an episode from airing because he felt he went just a little too far.  As horrific as some of things are that we see on screen, Hannibal is at it's most terrifying as a psychological horror.  It wraps it's icy hands around your neck and suffocates you, leaving you haunted for the days to come.  Obviously, it's not a show for everyone due to it's extreme subject matter but should you partake in it's all it's bloody hypnotizing glory, you'll find this is televised fine dining at some of it's best.  

4 pendulums out of 5

A History of Horror with Mark Gatiss (2010)

A three-part TV documentary in which author/actor Mark Gatiss explores the evolution of Horror in cinema from a biased perspective. I don't mean that in a poisonous way; he's upfront about the focus, admitting that it's "unashamedly selective". I was personally disappointed that the German Expressionist movement was completely overlooked, but I found myself agreeing with his choices the rest of the time. There's only one film that I'd not seen, so I had to skip it. Why skip it? Because there's MASSIVE spoilers every time, mostly by showing the ending of each film. If you're comfortable with that, then there's much to enjoy.

Pt 1: Universal Studios: The golden era of American horror, Lon Chaney, Bela Lugosi, Boris Karloff, et al. The 'Universal Monsters', as they've come to be collectively known, reflected society's needs at the time. It examines the stories in a social context, exploring why scares that stopped when credits rolled were both thrilling and calming for different reasons. The episode contains mini-biopics of each actor, interviews with surviving cast members or their descendants, and an occasional rummage through the archives and props of the day.

Pt 2: Horror Europa: The second episode crosses the waters to focus primarily on the British horror industry, of which Hammer Productions were the most prolific. After Universal had run their Monsters into the ground with increasingly-weakening sequels and diminishing returns they allowed Hammer to have a go, expecting them to fail just as hard. But Hammer dug up the sleeping corpses and gave them new life in glorious Technicolor. It was within that framework that Christopher Lee and Peter Cushing emerged as genre greats.
The X Certificate promised danger and cleavage, so Hammer delivered. For a time, at least. The same waning of interest happened to them years later, but they carved out a well-deserved place in history right alongside Universal.

Pt 3: New Wave USA: Episode three returns to the States for a look at films by the likes of George Romero, Tobe Hooper and John Carpenter, men who pushed the genre further than ever before into realms of dubious acceptability. It gives the Independent films the credit they deserve while acknowledging that the Majors were also doing their bit to herald change with films like The Exorcist (1973) and The Omen (1976) hitting mainstream theatres.

3 episodes, approx 60 minutes each.

4 suggestive shadows out of 5

The Hitchhiker's Guide to the Galaxy (1981)

THGttG is an adaptation of Douglas Adams’ most famous work and provides proof positive that you don’t need a huge budget to create entertaining television science fiction, you just need a really good script and a towel.

Somewhere there’s someone who hasn't seen it, heard it or read it (it was a radio play and a novel before being turned into a show), so a quick synopsis: it’s the tragic tale of a regular Joe who wakes one morning to find his house is to be bulldozed that very day. The Joe is named Arthur Dent. Unbeknownst to Arthur, that particular toe-stub is small change in the galactic sense of the word because high above Earth hangs a Vogon ship with an even more destructive intent.

The Hitchhiker's Guide itself contains information to educate the galactic traveller and help them steer relatively clear of danger, or at the very least avoid the kind of embarrassing faux pas that taints even their unborn grandchildren. When read aloud it’s accompanied by cheap illustrations that appear to have been created on a two slice toaster powered by a potato; they somehow won an award. The voice is actor and radio broadcaster Peter Jones because if you’re going to give a book a voice it better be a damn good one. Quite often scrolling text extrapolates or expands upon what the voice is telling us. If you want to read it all you’ll need to make use of the pause button. It might seem like a chore at first but it's well worth the small amount of effort required. Stop being unfathomably lazy.

Everything has a very British parlance, so expect dry humour, comedy cynicism and cups of tea. At times it resembles a less tangential version of Monty Python's Flying Circus, particularly the episode which takes place at the restaurant.

If you're too busy to sit and watch a TV show, the radio play is equally as good and provides much the same experience minus the visuals, obviously.

6 episodes, approx 30 minutes each.

4 strange coincidences out of 5

He-Man and the Masters of the Universe: The Complete Series (2002)

Wisely taking into account how badly The New Adventures of He-Man (1990) was received, Mattel tried a second MOTU reboot in 2002 with designs that were less of a departure from the original 1983-85 series. Characters and locations were updated but remained instantly recognisable.  The opening title sequence sets the tone perfectly; it references the old series and then cleverly and effortlessly lets you know in no uncertain terms that this one is new.

The rebuilding of the franchise is mirrored in the gradual rebuilding of King Randor’s Kingdom. The threat of Skeletor necessitates that it be fortified and that loyal subjects are recruited to defend it, meaning the core team members return.

Man-At-Arms is his usual dependable self, with a bad-ass 'tache that will surely go down in legend. Teela is more combative but still resolutely feminine. Orko is less irritating, and is occasionally kind of useful. Stratos gets more to do, all the while sounding like the lovechild of Sean Connery and Brian Blessed. The remainder of the team each have a unique talent that the writers play around with to make their inclusion worthwhile, but special mention goes to the Sorceress who is beautifully characterised by her strength and compassion.

He-Man’s musculature is slightly less bloated; he’s not as much of a top-heavy freak as he was before. Aesthetically he’s fine, but there's one major problem with the character: Cam Clarke’s voice work. He does okay as He-Man, but as Adam he makes no effort whatsoever. I'm seeing the young Prince but I'm hearing Leonardo the Ninja Turtle. It’s the only weak aspect of the show.

Skeletor was always the best thing, so I'm happy to report that despite lacking his trademark 'Nyyaaahh' he’s even more awesome and a lot more menacing than his 1980's counterpart. He no longer flees at the first flex of He-Man’s chest; he’ll stand and fight instead. His frustrations are worked out by punishing his minions, which provides some comedy without compromising his new status.
Not having Evil-Lyn at his side would feel wrong, so she’s included. She essentially serves the same purpose as before, but is a little more Maleficent with a pinch of Lady Macbeth (she even casts spells in rhyme).

Combat is exciting, with an anime-style visual flair that settles down over time but never falls away completely. There’s some attempt to add depth to the animation through shadows that doesn't always work but deserves praise for being tried.

Season 1 is really great, but Season 2 raises the bar even higher by adding an additional threat that would've been more prominent in Season 3 had it not been cancelled because of floundering toy sales. Curse you, Matty. I want more!

39 episodes (26 in S1 + 13 in S2) split over 4 discs.

4½ morals at the end out of 5

.hack//Legend of the Twilight (2003)

An anime adaptation of the Legend of the Twilight manga trilogy that you can read about here: Volume I // Volume II // Volume III. You’ll find there information on the background you'll need to fully appreciate the LotT world.

It starts out the same as the manga, but branches off into something different early on. It finds its way back and then shoots off again into places new. That's not necessarily a bad thing, because the manga was lacking excitement for a long time in the middle section - the anime isn't. I also enjoyed watching a story with characters I felt I knew well being taken in a different direction than the one I'd already experienced; the element of surprise was attached to every situation.

The relationship between the siblings is well-defined. The geographical distance between them is bridged by the game world, and their changing feelings for each other are still developing as the story begins.

The character designs are somewhere between chibi and normal. It's near impossible not to like them. However, even though it has the appearance of being suitable for younger viewers, it's not free from fan-service. The bizarre incestuous undertone in the manga is carried over.

The Japanese voices are excellent and suit the characters well. After I'd finished the final episode I went back and picked an episode at random to check out the English dub. There were a few voices I recognised, and while I may praise them elsewhere, they were very ill-suited to the characters of .hack. Sub beats dub.

12 episodes, approx 24 mins each. There's also a 13th episode that isn't a part of the main story; it's a comedy coda that throws up a few surprises.

3 red threads of fate out of 5

Hell Girl: Season 1 (2005)

According to legend, at the stroke of midnight the website known as Hell Link becomes accessible. A blank page appears giving you a chance to avenge a single grievance, at a price of course. Type in a name, click send and damn them to Hell. Summoned by your injustice, Hell Girl Ai Enma and her cadre are let loose to torment and destroy the one responsible.

Like J-horror classics Ring, Kairo, and One-Missed Call, HG uses Japanese folklore and updates it with a technological twist. The stories are simple but at times heart-wrenching and when the wronged enter into their unholy covenant, it is truly satisfying to witness Hell Girl take vengeance on the accused.

While extremely formulaic from episode 1, it is the glimpses of the young avenger Ai Enma in her domicile which fascinate and lead you to ponder her mysterious origins. Through viewing several episodes you begin to see that she is not just a demonic entity. This opens up moral conflictions which make the latter half of the series the most watchable.

A break in the formula comes when two characters somehow linked to her past become aware of these deeds and ensue her in effort to stop them. This lends to the inevitable revelation of her shocking origin at the end of the series.

While the rigid structure of the show will turn off certain viewers, ones with a dark sense of curiosity will enjoy these tales of vengeance and the enigmatic origins of the one known as Hell Girl.

Buyers Guide:
Available in a 4 disc dvd box set

3 "Care to give death a try?" out of 5

HOMELAND - Season 1 [2011]

 

“Why kill a man when you can kill an idea?”

It's not often a television series has me completely absorbed into it by the final scene of the pilot episode.  Normally it takes a few episodes, sometimes a complete season.  However Showtime's Homeland managed to capture my undivided attention within the first twenty minutes of the pilot.  Inspired by Gideon Raff's Israeli television series, Hatufim, showrunner's Howard Gordon & Alex Gansa (of the Kiefer Sutherland vehicle 24) run over familiar territory, dealing with the subjects of terrorism, espionage and paranoia.  It tells the disturbingly intense story of a troubled U.S. Marine returning home to his family after being a tortured prisoner of war for 8 years to the al-Quada.  Even though he's celebrated as a hero, an equally disturbed CIA agent suspects him of being turned by the enemy and a potentially dangerous threat to the country. 

While 24 was driven by it's implausible, yet riveting, action, Homeland keeps it's feet firmly grounded in realism and makes the experience all the more terrifying.  Driven by such intimate intensity, Homeland is the type of show that will keep you awake at night wondering if it's time to lock yourself up in your house with a tinfoil hat. 

The first 5 episodes are consistently strong, compelling and effectively suspenseful, however it seems to lose it's step for a few episodes in the middle but still has enough purpose to keep the viewer trucking on forward.  Thankfully, we're rewarded by the final 4 episodes that pick up the slack and dare you not to break a sweat or hold your breath. Without the wonderfully absorbing cast, including My So Called Life's Claire Danes, Band Of Brother's Damian Lewis, Firefly's Morena Baccarin and Dead Like Me's Mandy Patinkin, Homeland probably wouldn't have been nearly as emotionally engaging. 

It's not a perfect series or even breaking new ground, with 24 and Rubicon before it, but it is certainly something that's easy to recommend to anybody that loves episodic suspenseful television. 

13 episodes.  Roughly 55-60 minutes each

Buyer's Guide:

Available in DVD and Blu-ray box sets and on iTunes, Netflix and Amazon.

3½  instances where your own side is scarier than the enemy out of 5

.hack//Quantum (2012)

A three-episode OVA set in the ever-expanding MMORPG .hack Universe (The World R:X). The setting will be familiar to long time fans, as will the references to 'Pluto's Kiss' and the 'Descendants of Fianna'. Everyone else may struggle at first, but once you know that a 'PK' is a Player Killer (one who targets and kills other players within the game world) you should be able to pick up on what is happening easily enough. It's not rocket science.

The main characters are a mixed bunch. They're stock types but surprisingly well-fleshed out despite the short running time. One is clumsy (Sakuya), one is sensible (Mary), and one is smart (Tobias). Together, using the character models of Kite, BlackRose, and Balmung, respectively, they get themselves into dangerous situations and together must get themselves out of the same.

The first episode is the standard introduction episode, but if you stick with it you'll be rewarded with more emotional content in episodes two and three.

Music is by Kow Otani, a name many anime fans will recognise. The .hack music is an integral part of the franchise, one that Otani both pays homage to and imbues with his own style.

3 episodes, approx 25 mins each.

3 pick ups of all the things! out of 5

.hack//Liminality (2003)

A small but significant number of players have fallen into a coma while playing a game, an MMORPG titled 'The World'. While the bodies of the afflicted lie in a hospital bed, their online avatars have gone mysteriously missing. A group of player characters band together to find out if there's a connection, and how to reverse the process so they can get their friends back.

.hack// is a huge franchise. I've played games, read novels, manga, watched anime and own soundtracks. Sometimes the works are standalone and sometimes they aren't. The .hack//Liminality OVA requires knowledge of the larger universe, specifically the first four PS2 games (see below*), to understand its history fully. The events that occur in the games are happening concurrently with events that are happening in the real world, although the main characters aren't the same.

For those of you that played the games, the music and distinctive sound effects are recreated. When the tuning fork sound that heralds change, and the drip, drip, drip hit you it takes your mind back into that living, interactive space. For anyone not familiar with those feelings, the anime may seem a little empty.

The first episode was good, full of intrigue and potential that quickly fell away by episodes two and three. The fourth and final episode picks up the pace again, but not enough to make it an essential purchase for anyone who isn't a super-fan.

NOTE: a single episode was included on a DVD with each of the four parts of the first series of PS2 games, so you'll need all four games to complete the set.

4 episodes of varying lengths, 45 mins or 30 mins long -132 minutes in total.

2½ forks, A in C major, out of 5

*There's more .hack// at our sister sites, Nut Load (Games) and Nut Ink (Books).

Hell On Wheels Season 1 (2011)

"Choose Hate. It's so much simpler."

AMC's latest original drama takes place in 1865 after the American Civil War and during construction of the transcontinental railroad. We follow Cullen Bohannon, a former confederate soldier on a quest for vengeance against the soldiers who killed his family. He finds one working as a foreman working for the Union Pacific railroad based at the titular town Hell on Wheels, so he gets a job there managing an all black cut crew. He will face not just setbacks in his thirst for revenge, but also in his relationships with other characters including former slaves, Irish immigrants, prostitutes, the head of security and the head of the company, Thomas Durant.

So much is going on, it's hard to see how they could have fit it all in just 10 episodes. At times things feel rushed and the central revenge plot seems to get lost in the middle of the season, but the production isn't above just holding off on some plot threads if it would get in the way. This is good when they pick the more interesting ones, freed slaves dealing with latent racism, over the less interesting ones, pretty much everything about the Irish brothers. The feel of the show is less authentic western period drama than it is dramatized excuse to have gunfights in a western setting which is perfectly fine. It makes full use of its drama with bloody gun fights, backstabbing, scalping and racism against both freed slaves and native americans. It starts slow, but, to borrow a pun, it picks up steam later on.

Episodes to See:
Bread and Circuses - Good conflict between Bohannon and Elam.
Revelations - An episode focused on the 2nd main character Elam.

Buyer's Guide:
Available on DVD and Blu Ray box sets and on iTunes and Amazon.

3½ Turning to God doesn't make an alcoholic hate whiskey out of 5