I believe the first couple of series are somewhat cheap, a myriad of bad jokes. But, as Fielding and Barratt step up to become writers, this has
been ( in my eyes ) the best series yet. Eels was odd, but was one of the best songs in the history of Boosh.Journey to the center of the punk ismy favourite, although it was blatantly obvious that was copied from a real film. I absoulutely loved the stationary village idea, which was totally original to my knowledge.I try to forget the power of the crimp, as it was not very funny or exciting. I enjoyed everything else, especially Party, with the glorious bouncy bouncy crimp!
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Boosh is definitely one of those polarising comedy shows - the sort of thing your parents would briefly ponder with confused bewilderment, before declaring it "queer" and switching over to watch "Only Fools & Horses" series 159 on UKGoldSilverBronze+3 (oh Delboy! You're such a cheeky rogue, with your falling-through-an-open-bar antics!). On the other hand, because of the near-ridiculous level of devotion layered onto it by the horde of fanatical adherents, there is a danger that it could be over-hyped beyond any level of expectation that it could ever hope to fulfil. The best approach is to try to view the series with an open mind and forget anything you may have heard about it already.
This is not a great story for Doctor Who as the good Doctor and his companions seem to have been crow-barred into a period murder mystery with little or no sci-fi relevance.
However, that has been done before in other stories and I suppose this outing would stand up to criticism better if the other difficulties of the early Davison era were not so apparent - the overcrowded TARDIS with too many companions having not enough to do - Adric appears to spend most of this story stuffing his face!
This is only a two parter and it even feels overly long at that. It is a story which relies too much on quaintness and incidental acction to fill the time - such as the Charleston routine - much as I enjoyed watching Janet Fielding doing ... Read More:
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I heard Bob Mortimer describe the Mighty Boosh's comedy as "joyous" and immediately realised that thats what makes it SO good. You're just watching naturally funny people on the same wavelength having a laugh, with some surreal plots and crazy costumes thrown in...and its the best comedy you'll ever see.
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Having read the books, I wondered how on earth they would manage to do them justice on the television. I have to say, I thought the acting was absolutely first-rate, without a shadow of a doubt: I can't think of any weak characters, and some of them were simply outstanding: Charles Stringham descending into alcoholism and reborn, but completely destroyed in the process; Widmerpool, played, I think, by the same actor all the way through the series, and always more or less ridiculous; Pamela Widmerpool, played by Miranda Richardson, having some marvelous lines as she turns one male head after another; and then gentle Nick Jenkins, who appears to be the only sane person in the whole mad world.
There's lots in the books that couldn't possibly find their way onto the ... Read More:
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Having read the books, I wondered how on earth they would manage to do them justice on the television. I have to say, I thought the acting was absolutely first-rate, without a shadow of a doubt: I can't think of any weak characters, and some of them were simply outstanding: Charles Stringham descending into alcoholism and reborn, but completely destroyed in the process; Widmerpool, played, I think, by the same actor all the way through the series, and always more or less ridiculous; Pamela Widmerpool, played by Miranda Richardson, having some marvelous lines as she turns one male head after another; and then gentle Nick Jenkins, who appears to be the only sane person in the whole mad world.
There's lots in the books that couldn't possibly find their way onto the ... Read More:
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Featuring a script from one of Hitchcock's favourite writers, Ben Hecht, the acting talents of Cary Grant and Ingrid Bergman and dream sequences by Salvador Dali Spellbound should be an excellent slice of Hitch.
That it doesn't quite match the sum of it's parts is perhaps not surprising when one factors in the censoring eye of David O Selznick. There is an argument that Selznick is unfairly maligned, but in this case there seems little doubt that by removing some of the funniest bits of the original script and calling in his own psychiatrist to give "realism" to the film (with Hitchcock, as usual, having no interest in tedious authenticity) certainly hampered the end product.
The leads give strong performances, although the viewer will have little ... Read More:
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It's not a particularly good comedy but it's a mustif like me you're a Liz Fraser fan. Liz and Joan Sims play a couple of exotic dancers. She has plenty of good scenes in it,as usual in these films from 1960 the producers wanted to accentuate Liz's sensational figure so expect plenty of bra and pantie scenes. The scene where she's on stage with the brilliant James Robertson Justice is fantastic. As it's a colour film Liz has never looked lovelier.
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Julian Temple cinematic creation of the story of Wordsworth and Coleridge's tempetuous relationship is moulded in a curiously stark,black & white manner.
In Julian Temple's world, Wordsworth's creative talent is constantly wilting in the shadow of Coleridge's genius. Furthermore, his revolutionary sympathies are a dark betrayal of Coleridge, the genuine apostle of new-ageism and political egalitarianism. Wordsworth harbouring a burning desire to be the establishments' poet laureate and member of the wealthy status quo.
By contrast,sister Dorothy, brilliantly portrayed by Emily Woolf is a genuine subversive and free spirit and recognizes STC's genius as far and above her brother's quota.
Whether this portrayal is accurate is open to dispute but certainly Julian Temple ... Read More:
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Okay, so "The Prisoner" was never predictable, but it's conclusion is a mess.
"Fall Out" re-imagines the series as a bad dream, forgetting the brilliance of the early episodes. The Village setting is ignored, and it all feels like a bad trip. The premise is that, finally, Number 6 gets to meet Number 1. Unfortunately, there's a lot of padding first...
Leo Mckern returns, looking totally different than in the previous episode (filmed eight months ealier) and we finally get to see the unseen nemesis. His identity is a great twist, but it's never fully explored.
I'd love to tell you what it's about, but in that totally presumptious way : "You have to make up your own mind". I guess this is code for "Macgoohan couldn't think of an adequate way of ending it". Easily the weakest ... Read More:
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