**Spoilers** If you have not yet watched this episode, please go and do so before proceeding.
So Rose is gone and Donna refused Companion status...who is The Doctor going to 'abduct' next? Well why not a fellow doctor (albeit one still in training) who has gone to the moon and back with you and defeated a grannyvamp and her evil straw of doom?
Favorite Moments & Random Thoughts:
- It's funny how with the revived Who that the companions' families are playing such a big part. I don't seem to recall us learning diddly squat about the parents and siblings and boyfriends in what I've seen of Classic Who. I guess this is supposed to reflect the changing times? But did we really need all of that Jones family drama? Are we going to have yet another companion who views The Doctor as a magical knight who rescued them from their miserable existence?
- On the other hand, Martha seems to be a bit more practical than Rose and clearly is on good terms with every member of her family...even if they aren't with each other. She's also training to be a doctor and, from the sounds of it, is set to inherit a modest sum of money after her parents' death, so maybe this trope will be subverted. She looks pretty determined and content.
- A med student discovering The Doctor's rather unique cardiovascular structure...hahaha! Her face is too funny, as is his reaction!
- I really think that some of the panicking reactions of the patients and staff were a bit over-dramatic...or maybe the camera just lingered too long on too many shots of them screaming and dashing about. We get it. We're not stupid. You don't have to bash us in over head with the fact that they're on the Moon!
- Adeola. Nice bit of continuity fix-it there.
- "Judoon platoon upon the moon."
- The Judoon with their high-tech DNA scanners and low-tech glorified Sharpies crack me up every time.
- I think it is great the way the grannyvamp's first victim was named Mr. Stoker. (Bram Stoker was the man responsible for writing Dracula and therefore setting down much of our 'modern' vampire lore rules.)
- Grannyvamp's choice of straw is also hilarious.
- Martha is shaping up to be an excellent companion. She's smart, she's resourceful, and she wants to make a difference in the world. It also helps that in her case it isn't The Doctor rescuing her from her terrible life. She's training to be a doctor, her family is fairly well-off, and although her parents are separated Martha gets alone very well with everyone...even Daddy's girlfriend.
- My one major bone to pick with this episode is why on earth did The Doctor kiss Martha? I mean, I know that he had to transfer some of his DNA onto her...but why did it have to be in a kiss? Why couldn't he just sneeze on her or something? Why shoe-horn in this unrequited romance crap that somewhat undermines Martha's cool factor?
- I love the way The Doctor has a sort of mourning session for his fried Sonic Screwdriver. This is a prime example of the type of humour that just makes David Tennant's skill sparkle. His comment about the leather drone and fetishes also got a rather shameful chuckle out of me.
- The Doctor plays dumb to get Mrs. Finnegan Grannyvamp to suck his blood. Somehow his clueless, bunion-afflicted dork is one of the most adorable characters ever...I'm still trying to figure out why.
- Once again the Companion has to save the day, although here at least it was with wits and common sense rather than gymnastics and sheer dumb luck (I still think the whole Rose affair could have been handled better).
- But honestly...I'm no doctor or medical professional, but I'm pretty sure that excessive blood loss can't be cured by CPR, even if you do have two hearts. That being said, the imagery of Martha giving her last gasp of oxygen to help The Doctor still manages to be a pretty strong and poignant one. Just judging by this I would say that Martha is shaping up to be a pretty awesome companion, despite her crush on our Time Lord.
This episode was great fun. It is definitely on my list of things that I will willingly watch more than once and somehow it is never boring. It was an excellent series opener and introduced us to a new companion in an interesting, non-cumbersome way and provided us with some extremely quotable moments. I give Smith & Jones an 4/5 and say that I'm probably going to go and watch it again.
What did you think?
Do you agree with my rating? If not - what would you say differently?
**Spoilers** If you have not yet watched this episode, please go and do so before proceeding.
When last we left our two heroes (Sherlock and John) they were in a deadly stand-off with one Jim Moriarty that culminated in one of the worst series finale cliffhangers of all time. Speculation ran high as we waited for Series 2. Would Moriarty back down? Would Mycroft and Lestrade come barrelling in to the rescue? Would Sherlock shoot the Semtex vest and John catapult them both into the relative safety of the pool's waters? What would happen?
As it stands - I think that it was a genius move on the part of Moffat to resolve the conflict in such an anti-climatic and hilarious way. Nothing could ever quite live up to fan expectations and having the Bees Gees and a mysterious phone-call save our boys gave the episode plenty of time to catapult us into the new story; the story of The Woman.
Favorite Moments & Random Thoughts:
- Irene Adler being updated into a Dominatrix isn't actually all that far away from the mark. The original Irene was an opera singer and, during the time period, being a woman and being a performer wasn't exactly held up in high esteem.
- I love the way they worked the iconic deerstalker into the show. I'd been wondering when it would come up...
- The Geek Interpreter, The Speckled Blond, The Adventure of the Navel Treaty, & Sherlock Holmes Baffled all made me grin like an idiot, as did the reference to the infamous tobacco ash analysis (though that could have been brought on by Sherlock in tartan plaid complete with goggles and a blowtorch!)
- Sherlock going to Buckingham buck naked (pun intended) save for a sheet...which he then nearly loses. Don't even try to pretend that that wasn't blatant fanservice!
- Sherlock and John giggling like naughty schoolboys and stealing ashtrays from the Palace. Tsk, tsk. I'm not sure who corrupted who...
- Sherlock and Mycroft Holmes are two extraordinary geniuses. One is the world's only Consulting Detective and the other practically runs the British Government (a Consulting Politician, if you will) and yet whenever they're in the room together they suddenly become a pair of squabbling toddlers. It's strange and oddly adorable.
- John's new profession is keeping peace between the Holmes brothers.
- I love the contrasts/comparisons made between Sherlock and Irene. The way they both look at pictures of each other and prepare for their meeting...although in completely different ways. Sherlock's method of preparation (and the help he asks John for) still cracks me up:
- Sherlock's first meeting with Irene (especially the bit where his mental keyboard has a little scramble) is simply brilliant. The conversation is multi-layered and I love the places where Sherlock is completely flummoxed by the intelligent and beautiful Irene.
- As always the cinematography of Sherlock is simply brilliant. I especially liked the scene with the magical appearing bed.
- Mycroft's expression at Irene's 'gift' to Sherlock is simply priceless. And Mrs. Hudson was right - that noise was rather rude...
- And I just grin like an idiot every time Mycroft tells Mrs. Hudson to shut up and Sherlock and John instantly jump all over him (metaphorically speaking). It really is quite the adorable family living there at 221B Baker Street, isn't it? This is why Sherlock is currently my favorite Sherlock Holmes adaptation...I love what they did with Mrs. Hudson!
- Also in that scene, Sherlock keeps shooting Mycroft smug looks during Mrs. Hudson's scolding as if to say "See? Mummy loves ME best!"
- I absolutely LOVE all of the violin bits in this episode. I play myself (and have for several years) and so I am just tickled pink every time that Sherlock picks up the instrument, whether it is to compose a dirge or to make sarcastic remarks at his brother.
- Poor Molly! Clearly she thought that this Christmas party would be the perfect time to come out with her feelings towards Sherlock. Look at her! She got all dressed up and she can scarcely take her eyes off of the back of his head.
- Conversely, poor Sherlock! It is evident that he is absolutely miserable at this party (which was clearly John's idea) and not just because he is a spiritual descendant of Ebeneezer Scrooge. He is terrible in social situations and, to a certain extent, he knows it. Usually he doesn't care because The Work doesn't exactly require you to be a peach, but here Sherlock is like the proverbial fish out of water. It just makes the whole scene uncomfortable.
- Everyone always focuses on Molly whenever she asks Mycroft awkwardly how Sherlock recognized Irene from '...not her face...' - but I am infinitely more caught by Mycroft's reaction. He sort of grimaces out a polite smile, but you can see that he's wondering the same thing himself. It is both humorous and touching because he really does care about his little brother and is worried about him.
- Why did Sherlock follow John to the power station? Simple answer - he clearly noticed that the car was not one of Mycroft's and so followed to make sure his blogger would be all right. Kinda makes you feel better about all of the insults he throws at John, doesn't it?
- Saving Mrs. Hudson. I actually cheered whenever he was picking out all of the vulnerable spots on that thug.
- He deserved it; Mrs. Hudson is awesome!
- Am I the only one who finds it hilarious that Irene slipped into the flat and decided to sleep in Sherlock's bed? She's totally vulnerable like that. It's not like she brought backup. She has literally put herself at the mercy of two men she barely personally knows. And yet she still does it without even batting an eyelid. It's not that she trusts him, it's just that she has him so well figured out that she knows he won't run to the police or his brother. By this point Irene Adler has Sherlock Holmes dancing on a string.
- There is a reason this script is so smart in the way it uses innuendo and double-talk. Take the fireside scene, as an example. Sherlock is sitting there plucking at the violin and Irene is watching him from John's chair. I do find it a bit bewildering that John went out and left Sherlock alone there with Irene...but maybe that's just another indication of how brilliant she is if she even fooled John Watson, watchdog extraordinaire.
- Anyway; Sherlock is sitting there puzzling out the Coventry Conundrum and starting to figure out how 007 ties into it all. Now take a look at Irene's face - she's becoming concerned (not panicking, because we never see Irene panic) and so she asks him if he's ever 'had' someone. That could seem like a non sequitur until you realize that Irene knows Sherlock is The Virgin...and that these sort of topics, particularly when up-close and personal, really throw him off. She completely derails his train of thought by inviting him to dinner. She is using that proposition as a tool to keep him in the dark. Just go and watch the scene again. She's playing him like that fiddle he's holding.
- Why is Mycroft so upset (moved to both drink and tears) at the news that Moriarty and therefore the terror cells know about FLight 007? Well it wasn't because of the wasted time and money. Mycroft has surely dealt with plenty of that in the past. No; this time it was because he - the inscrutable Mycroft Holmes - had been compromised. As Irene said "...unless you want to tell your masters that your biggest security link is your own little brother." Irene played with not one Holmes brother but with both - Sherlock being merely the means to an end. Mycroft is so shaken because he realizes that not only did Sherlock essentially commit treason by interpreting that code for Adler, but that he will no longer be able to protect his younger brother from the fallout of those actions due to the fact that he will be blamed for the leak.
- The final scene between Sherlock, Mycroft, and Irene is a thing of beauty to watch. So much is going on in this scene and the focus shifts from character to character so fast that you could watch it for years and still not pick up on all of the nuances. HUGE props should go to Steven Moffat and to the actors (Laura Pulver, Benedict Cumberbatch, and Mark Gatiss) for making this scene into the epic piece of complex beauty that it is.
- I absolutely adore the talk John has with Mycroft in Speedy's (not in the least because it shows that Mycroft somehow heard about John's earlier snarky comment concerning meeting in a café) and I have to thank them for the oddly-cute mental image of a big-eyed, curly-haired pirate stalking about Holmes Manor with a wooden sword.
- Sherlock is manipulated into saving Irene...she really played her cards right.
In short, A Scandal in Belgravia is a fun, witty, romp. It was a wonderful, intense series-opener and so is a very hard act to follow. It is multi-layered and complex (more-so even than your 'average' Sherlock episode). I give this episode a 5/5. This was great television!
What did you think? Do you agree with my
rating? If not - what would you say differently?
**Spoilers** If you have not yet watched this episode, please go and do so before proceeding. The Time of The Doctor is the conclusion of the 11th Doctor's arc where Steven Moffat not only actually managed to tie up a few loose plot threads but also made fans the worldwide suffer through a regeneration story for a Christmas Special. I know, I know - the first part of David Tennant's swan song also aired on December 25th...but we didn't actually have to watch the regeneration until New Year's. So completely different ball game. Moffat is a cruel, cruel man.
This episode was epic. A far cry from the soppy, illogical mess that was last year's The Snowmen, this episode saw all of the plot elements from Matt Smith's era as The Doctor being brought together and woven in with some new friends to create the so-long prophesied siege of Trenzalore where the question will be asked.
Favorite Moments & Random Thoughts:
- Is it a tradition now for The Doctor to get in at least one, erm, clotheless scene during his run? 0.o Just...why?!
- All of the real light-hearted stuff in this episode happened in the opening 10 or so minutes. Generally with Moffat the witty quips and humorous snark is scattered throughout the writing - but here as the story went on the dark tone became more and more prevalent.
- Nothing was overlooked in the writing of this script. Not the Screwdriver's inability to do wood nor Matt Smith's rather famous lack of eyebrows (he claims they're just 'delicate'...). The necessity of a wig for our dear fellow in this episode was also worked into the story itself.
- There is a church where you have to take off your clothes to attend. I'm pretty certain that the only purpose this served within the episode was to give us a view of Smith's abs... *rolls eyes*
- The Weeping Angels are officially scary again! For everyone who complained about them moving in Flesh & Stone or about the Statue of Liberty plot hole in The Angels Take Manhattan fear not...in this episode The Doctor and Clara find themselves trapped in a valley with hundreds of Weeping Angels coming up from under the very snow beneath their feet!
- I was rather underwhelmed by Tasha...Mother Superior or Sister or Reverend or whatever her title was. Not only did we have little time to get to know her (and yet were expected to believe she had known The Doctor for centuries) but she was just bland. What about Madam Kovarian? Why couldn't she come back? Did she actually die in that parallel universe? I thought once time was set right everything snapped back. Guess not.
- Clara got sent back twice. TWICE! What was Rose complaining about again?
- While we're on the subject of Clara, I suppose we can see it as sort of symbolic that she spent most of her time in this episode clinging to the outside of the TARDIS or light years (and literal years) away from The Doctor as she is the character who still has no personality. Even Tasha the Bland had a character. Pretty much all we know about Clara is that she is feisty, is a teacher/governess, and is born to save The Doctor. None of the former have been expanded or built on enough to constitute an actual three-dimensional person and the latter hasn't really affected her in any way. Hopefully now with a new Doctor and a new character arc Clara will get the chance to be more than just The Impossible Girl responsible for the tension-breaking witty quips. C'mon, Moffat, you can do better than this!
- Steven Moffat made me cry over a decapitated Cyberman head. A Cyberman head! RIP, Handles.
- I feel like the way the Silence were suddenly on the side of The Doctor sort of smelled like a bit of Davies Forced Exposition. Which is strange, since Davies is no longer writing for this show...
- Would the Daleks please stop stating the obvious!?
- old!Eleven sort of looks like old!Bilbo from The Fellowship of the Ring. (Please tell me I'm not crazy...you all see this too, right?)
- On that note, Matt's age make-up looked incredible and his performance melded perfectly with it to convince us that The Doctor really was getting physically older.
- The Crack from Series 5 is back. I love the way all of these plot elements are coming together for one big finish to Matt's run.
- The scenes with Clara and 11 by the fireside was absolutely adorably heart-breaking. I love the way she rested her head against his knee and then helped his aged and weakened hand pull the cracker. For a moment I actually saw a person instead of a plot device. It was marvelous!
- MY THEORY ABOUT THE REGENERATIONS WAS RIGHT!!!! Sorry...ahem...what I meant to say was that it was brilliant of Moffat to make us think that he was going to do some sort of sneaky thing (like with the River-Regeneration-Thingy from Let's Kill Hitler!) when really he just went with the tried-and-true lore. We've already scene the council grant The Master a new cycle before and so that made it both more 'logical' (if you can ever apply such a term to this show) and believable (ditto) to old and new fans alike.
- I love the way that they used the Bookend trope. 11's first companion was Amy, and she came to say goodbye (Rory's wedding ring on hand...*sniff*). His trademark was the bowtie, he let it go gently. His first meal was fish-fingers and custard, and that was what he eats one last time before he regenerates.
- It was nice that Amy's message to her best friend was "Raggedy Man, good-night" as this regeneration is not a death but a new beginning. One of the things I hate the most about the RTD era of the show is the way he handled the whole regeneration story for poor Tennant. Was he bitter about leaving or something? I don't think so, based on the interviews I've seen, but if you were just watching the episode you would have thought that both actor and writer were being forced out at gunpoint. As 11 said in this episode...10 had vanity issues. He whinged and moaned through his swansong like a 10-year-old woobie and went to his death with no sense of dignity (unlike 9 who faced 'death' with a smile). Eleven, on the other hand, got a deep speech that is meaningful to all of us...a speech filled with contentment and acceptance. This is honestly one of my favorite regenerations of all time and definitely one of Matt's finest moments.
- And for everyone who has been moaning about Capaldi...
The Time of The Doctor was a great episode. It was fun and sad and dark and epic. It tied up loose plot-threads and introduced new ideas for the next series. It was everything that I wanted and more. There were some problems as such things are inevitable whenever you have to cram so much into a set running time, but for the most part the action and emotion sailed us on through the hiccups. I give this episode an 4/5 and say that I really want to go back and re-watch Matt's entire run now, just to get the complete picture. Geronimo!
What did you think? Do you agree with my
rating? If not - what would you say differently?
"What is it with you and book-to-movie adaptations? Why are you never satisfied? Why are you so inconsistent? What makes an alteration choice good and what makes it bad? Why do you accept The Hobbit: An Unexpected Journey with open arms and yet consider The Chronicles of Narnia: Prince Caspian to be both the worst adaptation ever done and what should have been the death of a franchise?" Well you see, there's the thing. When you are adapting a book (or any separate form of media, be it a legend or a stage play) into a film then there are always changes that have to be made. In books a lot of things are shown and told through inner monologue; we see the world through the eyes of one character and that colors our perception of the set universe. Many things are explained in thoughts and observations that, when you are then creating the script, you have to find a way to create the same effect through dialogue or visual work. It's not an easy job.
Because the two forms of media are so different, change is inevitable. Some things that work in a book just wouldn't work on screen) and, so in order to successfully adapt a beloved story for the big screen, you are going to have to make cuts.
The thing is - I've discovered that generally what upsets fans the most (myself included) is not the cuts made to their sacrosanct material. No, what really ticks us off is whenever the adapters add bits that were not even hinted at in the original canon. But that in and of itself is a rather funny thing in that sometimes certain alterations are more forgivable than others. Sometimes we go to see a film and come out ranting and raving about how it is the worst thing ever, but other times the film takes the original universe and story and expands upon it so well that we leave the cinema in a blissful daze, heading home and purchasing another set of tickets for another night. Why is this? Why is it that some changes enhance and others enrage?
I think that what it really all comes down to is how much respect the people creating the adaptation (and therefore the cuts/additions) have for the original material. Are they truly creating something that will delight fans and draw in new viewers...or are they just going wild with the scissors and 'creativity' in order to check all of the little trope boxes and hope that they will appeal to a certain preconceived and narrow demographic? That is the difference. Changes (cuts or additions) are acceptable and even welcome, so long as they preserve and enhance the original tone, atmosphere, and message of the canon.
To illustrate this, let us take a look at a famous movie trilogy...a trilogy some consider to be the greatest and most famous 'impossible' book-to-movie adaptation victory. Let's look at The Lord of the Rings.
For years this was considered to be the trilogy that couldn't be filmed...the epic that could NEVER be successfully brought to the
silver screen. There were a couple of vetoed ideas (as well as two interesting
animated features) but we all knew that there was no way Middle Earth could
ever be translated into a faithful, live-action film. No way, no how.
Then a man named Peter Jackson (I call him PJ) came along and teamed up with WETA and New Line Cinema. The rest, as they say, is history. But what made this adaptation such a success where others before it had failed so badly? Jackson certainly took liberties with the source material, so why is his version worlds better than the Ralph Bakshi animated feature that practically quotes scenes from the book word-by-word? Once again, it all comes down to atmosphere and tone. PJ looked at this monster book and took it apart piece by piece, line by line with great love and care. His adoration and appreciation of the masterpiece practically drips from every piece of dialogue and that care shines through each and every frame of the films. He loved it - and so each alteration was carefully weighed and considered against the backdrop of telling this great story to a new generation. And obviously it worked!
The first time I saw these films I barely even noticed the changes...and at the time I was a staunch book purist, so this is probably a bigger deal than you realize. Each and every alteration made to the script only served to make the story better; streamlined and yet still rich, foreboding and yet intriguing, mystical and yet accessible. It was the story I loved playing out before my eyes - but bigger and better than ever.
That is the key to successfully adapting a book into a movie: respect. Changes will always have to be made, that's just the way it works, but don't make a change unless it is absolutely necessary to smooth the transition. Don't cut unless the scene truly isn't vital or can be successfully shown in another way; don't add unless it is to expand the universe along the same vein as the author's apparent intent; and for the love of all our sanity don't mutilate the tale until the characters are unrecognizable, the message mixed and confusing, and the story entirely different, aside from the iconic names. Anything else is fair game - but preserve the dignity of what you're adapting. Approach it with respect, work on it with care, and then the finished product will be loved by old and new fans alike.
So I've been a bit behind on my reviews of this unparalleled show, due primarily to the fact that the episodes are so long and complex (no complaints!) But I just had to get on and talk about the big event that has been teased for years now: the return of Sherlock Holmes.
This week we had the chance to view the Christmas minisode Many Happy Returns. If you haven't seen it, make sure you head over to the BBC YouTube channel and do so as it is brilliant and will get you all psyched up and ready for January. I should also put out a **Spoilers** warning right here as the only way to really talk about Sherlock is to just spoil away. If you are still reading after this point then I am going to assume that you either have seen the minsode or you don't care about things being spoiled. So let's dive in!
Favorite Moments & Random Thoughts:
- Anderson is now a member of the Sherlock Holmes fanclub. For some reason that just cracks me up!
- John's new flat has pink wallpaper that is just as ugly and strange as the brown pattern at 221B. Seems that nowhere he goes can he escape hideous décor.
- John drinking and watching a video of Sherlock. I can feel the tears welling up already.
- The video is pretty funny, though.
- Sherlock was taking out Moriarty's web while he was away. It is also quite funny that Anderson is the only one to pick up on the pattern.
- Whatever happened to Sally Donovan?
- That piano music. Gah!
- "You can stop being dead for me." "Okay, fine. I'm ready now."
Curse you, Moffat!!!!!!!
In short - Sherlock is looking to be brilliant as always and I can't wait until The Empty Hearse airs in January. Until then - grab your deerstalkers, hide your guns, and #SherlockLives!
If you have not yet watched this film, please go and do so before proceeding.
Last night my father and I went out for dinner and a flick (we really need to do that more often) and the film that we chose to spend our hard-earned cash on was the next installment in the Middle-Earth saga. I had heard mixed reviews about this one. Some people said it was excellent and ten times better than the first while others said that it was like watching a long, tedious video game. Needless to say I went into this experience uncertain of what to expect, though I was very excited.
And it...it wasn't bad. Certainly not as good as The Lord of the Rings (Though, if I'm honest, I'm a bit tired of all the comparisons because it's not LotR, it's The Hobbit!) but definitely better both than the first.
Favorite Moments & Random Thoughts:
- I really liked the way this movie began with going back in time and showing us the meeting between Thorin and Gandalf (taken straight out of Unfinished Tales) that started this whole venture. That was fascinating...and I laughed at PJ's cameo.
- Martin Freeman.
- The elven-caves of Mirkwood were fascinating. I always tried to picture them as a child when I was reading the book - but the image I came up with was cramped and musty and definitely NOT elven-like. So I liked the design in the film.
- Smaug was absolutely amazing. Ever since I was a child I have longed to see a version of Smaug the Stupendous on the big screen. I grew up with the old Rankin/Bass animated version where he was...well...just look at this picture:
- Yeah. Not exactly the diabolical stuff of nightmares that the book describes. But the Smaug from this movie? Even with the gratuitous changes from book-to-movie he was still everything that I wanted to see from this character. He was intelligent, cruel, and very powerful.
- Did they turn Mirkwood into some sort of acid trip?!
- There was too much CGI in this thing! Remember that opening scene that I so enjoyed? Well as I was watching it I noticed that the rooftops and roads are glowing. Not just wet and reflecting light - but actually luminous like the underbelly of a cuttlefish. And that was just the start of it. Thankfully things were a bit more tastefully done here than in the final act of An Unexpected Journey...but the fact still remains that there was WAY too much reliance on CGI.
- Too much Tauriel and Legolas action. Don't get me wrong - I enjoyed the character of Tauriel a lot and felt that she really meshed nicely into the Tolkien Universe as presented by PJ. But we didn't need that whole fight scene in Esgaroth. Not only was it not in the book, but it added virtually nothing beyond a bit of cheap action that broke up the psychological tension of the confrontation between Smaug and Bilbo.
- The whole 'Kill Smaug Sequence'. Filled as it was with improbable stunts and extremely-obvious CGI, this sequence did little more than create a forced climax. And it wasn't what I wanted to see. I wanted to see the confrontation between Bilbo and Smaug that highlighted both of their minds and strengths. That confrontation was funny and scary and it showed off Tolkien's grasp of human nature in the way the Dwarves sent poor little Bilbo down to do their dirty work. I like those dwarves better than this noble, squeaky-clean lot. Their greed and manipulative ways made them flawed which means they were more interesting and real. Not to mention the fact that this whole 'rescue Bilbo and kill Smaug' twaddle almost completely ruins Bilbo's big scene. This could have been something memorable and amazing, along the lines of the Riddles in the Dark sequence from the last film.
- Why did they split the dwarven company split up? I just don't get it. It was dumb and probably utterly pointless. We'll see whenever the next movie comes out.
- The romance between Tauriel and Kili feels forced. It isn't sweet or cute or meaningful. We already have seen an elf and a dwarf learn to get along with Legolas and Gimli. We don't need this. Next thing you're going to be telling me is that the reason Legolas hates dwarves is because they stole his crush away from him!
- I enjoyed the barrel-ride sequence quite a bit though I am annoyed that they changed some of Bilbo's lines. He was so funny in the book! The dwarves fuss at his plan to stuff them into the barrels and how does he respond? "Very well. Come on back to your nice cells and I'll lock you all in again and you can sit there very comfortably and think of a better plan. Though I don't suppose I shall EVER get hold of the keys again...even if I feel inclined to try." That's hilarious and is the exact sort of deadpan snark that Martin Freeman is so good at delivering.
- I was WAITING to see this costume!
- Probably my biggest hang-up with this film was the excessive deviance from the book. Now I understand that in a book-to-movie adaptation there has to be changes made. It's a medium transfer and nothing can ever be perfectly adapted. That being said - THE CHANGES HAVE TO MAKE SENSE!!! It doesn't make sense to have Tauriel there just for a bit of girl power and a romance with Kili. It is stupid to have the dwarves split up and leaves some behind in Lake Town. It is ridiculous to have Thranduil undulating his neck like a drunk serpent and offering Thorin his aid. And it is absolutely unnecessary to have the dwarves meet up with Smaug. The scenes worked perfectly well in the book the way they were. They've even been transferred into a film with perfect ease. The animated special wasn't perfect...but I think you'll find that the scenes I mentioned above were the best parts. Everyone LOVED the Riddles in the Dark sequence from the first film. Why? Because the dialogue was lifted practically word-for-word from the book, that's why. And because the focus was kept on Bilbo rather than on some faux-romance between an OFC and a delirious dwarf. I don't mind changes. What I mind is when they fix things that weren't even broken.
- That cliffhanger was pretty daring and awesome, though...
So that's all I have to say on the film at this point.The pacing was better, the scenery and sets...when they were real...were gorgeous, and the actors all did a superb job. Though I moan and complain about all of the unnecessary changes, they at least managed to preserve the magic and feel of the original novel through it all. I give The Hobbit: The Desolation of Smaug a 3/5 and say that I can't wait for There And Back Again.
What did you think? Do you agree with my rating? If not - what would you say differently?
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- My one major bone to pick with this episode is why on earth did The Doctor kiss Martha? I mean, I know that he had to transfer some of his DNA onto her...but why did it have to be in a kiss? Why couldn't he just sneeze on her or something? Why shoe-horn in this unrequited romance crap that somewhat undermines Martha's cool factor?.jpg)
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- But honestly...I'm no doctor or medical professional, but I'm pretty sure that excessive blood loss can't be cured by CPR, even if you do have two hearts. That being said, the imagery of Martha giving her last gasp of oxygen to help The Doctor still manages to be a pretty strong and poignant one. Just judging by this I would say that Martha is shaping up to be a pretty awesome companion, despite her crush on our Time Lord.
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