Review: Doctor Who: The Monster Vault

2020's large format, full colour tome from BBC Books is called The Monster Vault ... but forgive me for a moment as it all seems very familiar.

It's a big book - 312 pages - with a £25 price tag ... but haven't we seen it all before? The content is an A-Z of the monsters and aliens that the Doctor has faced in the show. It's not complete in that it doesn't include absolutely everything, and it does not cover the 'reality' or 'behind the scenes' element except for a brief section at the back. For each entry there is the creatures' history as explained (mostly) on screen, with a couple of deviations from the facts we know into what the authors are making up and surmising - but unless you knew, you wouldn't know the difference as it's all presented as 'authoritative'.

For example, the first entry, for the Abzorbaloff, claims that the creature's entire body is in a constant state of suction ... I don't recall that from the TV episode ... Next up is Alpha Centaurians and there's talk of their home planet having an abundance of food and no predators, so the creatures developed politeness. This is pure conjecture ... and so the book goes on, mixing fact from the TV show with a large dollop of conjecture and extrapolation on the part of the authors.

But haven't we seen books about the monsters before? Indeed, there was Lesley Standring's Illustrated A-Z (1985); I myself wrote A Book of Monsters (1997) which focussed on the behind the scenes creation and development of them, again copiously illustrated. Then, for the new series, Justin Richards produced Monsters and Villains (2005), Aliens and Enemies (2006), Creatures and Demons (2007), The Ultimate Monster Guide (2009, updated 2010), Monster Miscellany (2011) and The Secret Lives of Monsters (2013). There was also 100 Scariest Monsters (2011). So a fair few books focussing on the monsters, using only the fictional material presented on television, and illustrated with lots of photographs.

The Monster Vault seems to be the latest in a never-ending stream of similar books from BBC Books. Indeed, it is illustrated with photographs, but each creature gets a rather nice full page 'visualisation' courtesy of Lee Johnson which often looks like a photograph or perhaps a collage of pictures - it's hard to tell what is a photograph and what is artwork.

I think if I'd not been aware of the plethora of similar titles over the years, this book would be quite impressive. It's beautifully produced and laid out, and has monsters galore to sate any appetite. It's also obviously aimed at the younger set, with nothing over and above the descriptions and potential background and pictures. There are some 'unanswered questions' dotted throughout. Like for example why the Chameleons kill people when they're 'high-minded'  - they do so using a slow moving laser, unsupervised. Which is a bit daft, a bit of a joke, and totally invented (though the sequence with the laser is decidedly strange in the story) - the text is included solely to 'explain' a rather weak plot point in the story in which they appear. This continues with somewhat strange 'explanations' of why a Draconian state room is coloured green, how Haemovores can shape metal with their hands, and why the Rutans lost interest in Earth as a planet of strategic importance.

The book covers the entirety of Doctor Who with entries for Sensorites and Monoids alongside Chameleons (2nd Doctor), Solonian Mutants (3rd), Ogri (4th), Tractators (5th), Vervoids (6th), Cheetah People (7th), Jagrafess (9th), Weeping Angels (10th), The Flesh (11th), the Teller (12th) and Zellin & Rakaya and Thijarans (13th) and many more besides. And of course the Daleks and Cybermen are here too.

Just as we think it's all over there's a very welcome final chapter looking at the behind the scenes elements. This again includes photos from all eras of monsters being created, worn, fitted ... there are design sketches and shots of them being built ... it's probably for me the best and most interesting ten pages in the book! 

Overall this is a smashing book, well produced and laid out, which will provide hours of interest for fans new to the show in discovering more about all the various creatures that the Doctor has battled over the years. 

Doctor Who: The Monster Vault
Written by Jonathan Morris and Penny CS Andrews
Illustrated by Lee Johnson (interior) and Ben Morris (cover)
Edited by Paul Lang
Published on 22 October 2020 by BBC Books, priced £25 ISBN 978-1-78594-533-5

Review: Color Out Of Space (2019)

I've long been a bit of a fan of H P Lovecraft - it's the ideas, the slow burn and of course the tentacle monsters that do it ... and while there have been some film adaptations of his work in the past (think of titles like Re-Animator, The Haunted Palace, Dagon and From Beyond) none of them have quite managed to capture the creeping horrors described in Lovecraft's fiction.

Color Out Of Space however manages to do just that, and it does it very well indeed. We are introduced to a dysfunctional family. Father Nathan Gardner (Nicolas Cage) lives in the backwoods somewhere in America, miles from civilization or anywhere else for that matter. His wife Theresa (Joley Richardson) tries to cope with their son Benny (Brendan Meyer) and their rebellious daughter Lavinia (Madeleine Arthur) as they grow up, not to mention the youngest son Jack (Julian Hilliard). Into their lives comes Ward Phillips (Elliot Knight), a hydrologist making a survey of the water in the area. He's attracted to Lavinia ...

Then, one night, a meteor crashes onto their land, leaving a crater and a red hot ball of something ... alien. Everyone is mystified, but soon strange red flowers start appearing, the grass turns red, and Jack sees a strange insect hatch from a jelly-like object down the well. 

From this point onwards, life for the Gardners changes. Their herd of alpacas gets frisky, Theresa cuts her fingers off while chopping carrots, and the dog runs off, to be found later on ... changed ...

But things can get worse ...

What I liked about Color Out of Space is the way it starts slowly, drawing you into this family, and then when the meteor arrives, you just know that it's not going to be good. The 'color' of the title seems to be a bright luminous pink/purple, and the idea here is that the meteor contains a creature of some sort which is this colour ... a sentient colour. But more that that, it's a sentient colour which likes to assimilate the humans ... so we have some tremendous Blob-like scenes of melting flesh and physical change, and also moments which are straight out of John Carpenter's The Thing of mutated dogs and a crazy mixed-up alpaca creature ... not to mention what happens to the people!

It's a bleak film in some respects as there seems no respite and no way for a backwoods farmer to even fight this alien menace ... but the film finds an ending, even if it's slightly underplayed and underexplained.

The film is a very enjoyable and entertaining watch, and Richard Stanley has worked wonders with the source material to deliver something which, even if not 100% faithful, feels like Lovecraft.  I particularly liked his use of practical effects throughout, augmented on occasion with some CGI (or perhaps animation). There was only one short shot which I would have preferred to be practical when it didn't appear to be so ... but I'm not telling you which it was as I'm trying to avoid spoilers here!

Well worth seeking out, and it provides something new and interesting for jaded horror fans to appreciate ... cosmic horror which is truly cosmic and horrifying!

Review: Dog Soldiers (2002)

Dog Soldiers first came out in 2002, and for 2020, there is a new cinema release coming out, all restored and looking amazing.

For those who have not seen it, it's something of a treat, being director Neil Marshall's first cinematic outing. The film, scripted, directed and edited by Marshall, follows a group of soldiers under the command of Wells (Sean Pertwee) as they take part in a training exercise in the Scottish Highlands. They find the commander of the group they are training against, Ryan (Liam Cunningham) wounded and his troop slaughtered by creatures unknown. They are rescued from the wilds by Megan (Emma Cleasby) who happens to be passing in her jeep, and she takes them to the only house in any range to try and get help. But it's deserted, the occupants missing. So the soldiers take up residence and patch up Wells who has had his guts ripped open by the attacking creatures.

Soon the house is under siege by a pack of ravening werewolves, and worse, the danger is also coming from within as Ryan also turns into one of their number.

The film is something of a masterclass in ratching up tension and excitement as it moves from what at first appears to be a 'soldiers on patrol' piece to a superior werewolf movie. Marshall keeps the action going, and a favourite sequence is when Wells and Cooper (Kevin McKidd) have to escape the werewolves by basically breaking through the walls and floors of the cottage to get away!

One minor disappointment is that there is no actual full transformation sequence, so if you're expecting effects on par with The Howling or An American Werewolf in London, then this is not the place to come. There are some contacts and fangs-type initial transformations though. The film is low budget but Marshall gets every penny on the screen, and it also benefits from some standout performances from Pertwee and McKidd.

The ending might be seen as a little predictable, but it all adds to the charm, and overall the film is a superb slice of horror of the sort we thought filmmakers had forgotten how to do!

RELEASE INFORMATION

Distributor: Vertigo Releasing

In Cinemas: 23rd October, 2020

Release date: 23rd October, 2020

Digital release: 12th October, 2020                                

Review: Doctor Who Book: Time Lord Victorious: The Knight, the Fool and the Dead

It's been a bit of time since I've been sent some WHO stuff for review, but the last couple of weeks have seen some new items come in.

First up is the novel The Knight, The Fool and the Dead by Steve Cole. This is part of the whole Time Lord Victorious program which James Goss has overseen for the brand, and this is a novel published by Ebury. Well, I say a novel - it's more like a novella, or perhaps a long short story. It has 178 pages, is a small hardback with large text which is widely spaced out.

Indeed, it took me around an hour to read it - and the story is fast moving. There's a planet, Andalia, where some death-dealing creatures called Kotturuh invade and kill everyone. The tenth Doctor gets involved and with the help of an Ood called Brian (who seems to be placed out of time) saves a girl called Estinee who is using something called a Life Shroud ... and they chase off after the Kotturuh, eventually confronting them. There are apparently a lot of references in the book to other elements of the overall 'Victorious' plot and the show, but many of these unfortunately just passed me by. I did like a couple of flashback 'interludes' featuring the first and ninth Doctors, but it's unclear to some extent what they have to do with the rest of the narrative.

It isn't really Doctor Who as I remember watching it, though the tenth Doctor is nicely characterised, as it's all so simplified in terms of the writing level and the plot and ideas. I guess someone a lot younger than me would enjoy it, but I prefer a little more complexity. I would assume/guess there's around 30-33,000 words here which doesn't really give it space for the story to breathe.

The inclusion of a new mega-threat in the Kotturuh is okay, but Brian the Ood just seems silly, especially as he's inexplicably wearing a dinner suit ...  but then he seems to have been included for comic relief!

As this is all part of the bigger Time Lord Victorious project, perhaps it will all make more sense when we see how it all develops and unfolds, but given how hard Doctor Who merchandise is to find these days and how expensive it all is, I wonder if the young people that this seems obviously aimed at would have the patience or money to be able to get all the pieces of the puzzle ... there's a chart available with Doctor Who Magazine which explains all the elements and the timeline for their release and it includes LP records (who under the age of 30 has a record player these days) and even immersive theatre, CDs, action figures and display statues!

I hope it works. I hope it helps to revitalise the Doctor Who merchandise market as it seems fairly stagnant at the moment despite individuals and companies doing their best to produce what they hope might be popular.

I just wonder if this was the best way to start ... 

Review: Orphan Black

Every so often a series comes along which is so compelling, that it just drags you with it. We first caught Orphan Black on telly - I forget which channel. It might have even been on Netflix, though I don't think it was. We watched to the end and were enthralled throughout. So much so that for Christmas last year I got a well-priced Box Set of the series, and we have just finished watching it all again!

So what is Orphan Black? It's a thriller series, but one which takes as it's basis and background the ideas of clones and DNA and genetic manipulation and longevity. So there's Big Science involved, and mysterious organisations (the Dyad Institute and Neolution) and powerful men controlling these structures.

Into this world falls Sarah Manning. In the opening episode, Sarah is standing on a train platform waiting for her train. She's a bit of a rebel, a bit of an outlier of society. Down from her on the platform is another girl. She seems agitated, and when she turns to look at Sarah, she has the same features - she is Sarah's double. She places her bag on the platform and abruptly steps off in front of a train and is killed!

Sarah is shocked, but, ever the opportunist, she steals the girl's bag as she leaves. She discovers that the girl was Beth Childs, a policewoman ... and from this point Sarah's life is turned upside down. She learns that Beth was a clone, and that there are other clones too: blonde Helena is a twisted and insane version of herself; Alison Hendrix is a soccer mom living in a perfect home with a perfect husband, Donnie (Kristian Bruun), and two adopted kids; Cosima Niehaus is a science nerd, studying hard genetics and DNA to try and find a cure for the respiratory disease which threatens to kill her ...

All these characters clash together, along with Sarah's brother Felix (Jordan Gavaris) (they were both adopted by the same mother, called Mrs S (Maria Doyle Kennedy)) and discover that they are all part of a global conspiracy to control birth and genetics and sell it to the highest bidder.

So that's the basic set-up, and each season follows and develops the ideas and concepts and keeps opening the show up.

In season One Sarah assumes Beth's identity to try and find out more about her and discovers a hidden world of clones and corporate espionage. Someone is also killing the clones, one by one, and the race is on to find out who ... Sarah's daughter, Kira (Skyler Wexler), is also the focus of intense interest of Aldous Leekie (Matt Frewer) who runs Dyad as Sarah (and Helena) are the only clones who are fertile.

In Season Two we are introduced to clone Rachel Duncan, who is high up in Dyad, and Delphine (Evelyne Brochu), a Dyad scientist who works with, and falls in love with Cosima as they try to find a cure for her illness. Meanwhile Sarah is trying to stay alive while Alison is trying to lead a 'normal' life in the suburbs but ends up killing one of her 'perfect mom' rivals.

Season Three brings in the idea that as well as Sarah and her clones (termed Leda) there are also Male soldier clones (called Castor) (Ari Millen) and Sarah must discover what and why they exist. We meet another Leda clone, Krystal Goderich, and Cosima meets and falls for Shay (Ksenia Solo) who may or may not be another spy ...

Season Four fills in backstory with Beth investigating what is going on, and the discovery of Neolution's plan to implant tech worms in humans to harvest and control their DNA. Meanwhile Helena is being held captive, and the Neolution cult, headed by the aged P T Westmoreland (Stephen McHattie), has a base on an island where Cosima is being forced to conduct experiments ...

Season Five brings it all to a close, with Dyad and Neolution being attacked by the Clones ... but will there be a happy ending? Will Sarah and her sistres survive, and how will the world look in the aftermath.

I have deliberately tried to avoid spoilers in this brief rundown, and really the show is far more involved and engaging than it's possible to explain in a review. Furthermore, sharp eyes will have spotted that I have mentioned no actresses for Sarah and the clones. This is because they are all played by the same actress, Tatiana Maslany, who is simply a revelation and utterly the best thing about the show. Every one of her characters is different, from the way they dress, through their speech and even the way they move and react. You always know exactly which you are watching, and even when one clone has to pretend to be another (which happens a fair amount), Maslany manages to imbue her performance with aspects of both. It's a brilliant performance! And her depiction of the feral and unpredictable Helena is simply a joy. 

Furthermore, the direction and technical skill on display is immense as we often see several Clones together in the same shots, same scenes. The effect is flawless and you totally believe that these characters are separate and different and, indeed, are all together partying or talking or whatever. It's actually hard to believe that they are all the same actress, it's that good! There's little wonder she won the Primetime Emmy Award (2016), a TCA Award (2013), two Critics' Choice Awards (2013 and 2014), and five Canadian Screen Awards (2014–18).

Another pitch perfect element of the show is the title sequence and accompanying music. The music especially is so hauntingly memorable and builds beautifully over its short span, but this is enhanced by the visuals which encapsulate perfectly the themes of the show. There's DNA strands and separation of an egg, two 'Sarahs' split away from each other ... it's a magnificent piece of work in its own right. It is no surprise that Technicolor's Design team won an Applied Arts Award for the opening title design.

If you gather that I am a fan of the show, then you'd be right. Supporting Maslany in her multiple personas is a company of simply superb actors. Kudos to Jordan Gavaris as Felix, who manages to be the rock that Sarah clings to, while all the time being big brother to Alison and Cosima, while navigating his own sexuality through painting in the nude! He is a superb character, and very well played. Then there's Maria Doyle Kennedy as Mrs S, a towering performance of a mother who will do anything to protect her kids, even when she's more involved than she would like to admit. Kevin Hanchard plays Art Bell, Beth's partner in the police. He has a struggle to accept what's happening, but turns out to be a powerful ally. Even minor parts are cast and performed well, making the whole show one of the most watchable and enjoyable that I have ever seen.

If you get a chance to watch it, then do so. If you like spy thrillers, conspiracy shows, and action/adventure then I don't think you'll be disappointed.

For further reading there's a great piece on the show here: But Beware Spoilers!

https://slate.com/technology/2017/08/orphan-black-was-never-about-cloning.html

I just found too this SDCC panel where the cast are challenged to perform against different clones with Maslany playing all of them!