Only two episodes into his run, Peter Capaldi already has a classic episode under his belt with “Into the Dalek,” a truly ripping yarn! Yes, that may sound like too much praise, but I’ve been thinking about it, and I really think this story stands among the best Dalek tales ever.
Viewers also saw more of this new 12th Doctor – and the view is not entirely reassuring. This is a much (much) more gruff and short-tempered Doctor. He’s very (very) funny. And, most surprisingly, I really do not know if this incarnation likes Clara (Jenna Coleman). He acts like he can barely stand her one second, but relies on her the next. The Doctor/assistant relationship has been deftly and completely reimagined, and that has introduced a palpable sense of uncertainty.
Post-regeneration stories are notoriously iffy for DOCTOR WHO – for every winner (like Matt Smith’s “The Eleventh Hour”) there seems to be a stinker (like Colin Baker’s “The Twin Dilemma”). Well, this story was a solid winner – though it played a lot like Tom Baker’s debut, “Robot,” because it introduced a very alien Doctor who was replacing a warm, familiar face.
The newly regenerated 12th Doctor (Peter Capaldi) and Clara (Jenna Coleman) arrive in Victorian London to confront a dinosaur in the Thames and a spate of suspicious spontaneous human combustions. Meanwhile, both the Doctor and Clara are getting to know the new incarnation of the Time Lord, with help from the Paternoster Gang: the Silurian Madame Vastra (Neve McIntosh), Jenny (Catrin Stewart) and the Sontaran Strax (Dan Starkey). The story is structured as a murder investigation: Who burned a dinosaur alive in the Thames?
Could DOCTOR WHO show-runner Steven Moffat be out of ideas already? At first blush, this story looks like a reworking of the 10th Doctor story “The Idiot’s Lantern,” in which a malevolent alien intelligence sucks human faces (and energy) into the then-new technology known as television. In this story, a malevolent alien intelligence sucks human minds into the new technology known as wi-fi. But despite appearances, that impression could not be more wrong.
In fact, Moffat and his partner-in-crime, Matt Smith, are at the height of their powers. Moffat has a firm grasp on the creative direction of not only this season but his entire era as the guiding force of DOCTOR WHO, and Smith has made role so completely his own that it is almost hard to imagine anyone else playing the Doctor. Smith inhabits the role so completely that it’s hard to tell where he ends and the Doctor begins. The result is a perfect storm of creativity, with Moffat serving up big, inspiring stories that Smith knocks out of the park. They are not all perfect, but working together, Moffat and Smith are crafting some of the best DOCTOR WHO stories ever and forging one of the great eras in the programs history. They are the Lennon-McCarthy of DOCTOR WHO.
This is not our Doctor. Not our Matt Smith.
This sullen, withdrawn, fatigued Doctor is not the same man who cheerfully battled Daleks and rode a triceratops like a pony. This Doctor is grieving. This Doctor is pain, and he cannot heal himself. He is a man in crisis. He is a man in hiding. Since when does the Doctor hide?
The morose shift in personality is due to the loss of Amy — and Rory, but… Amy — in the last story, when the Weeping Angels sent them into the past to live themselves to death. Now the Doctor has given in to his pain and doesn’t want to want watch any more companions die — by violence or by simply outliving them. He hates endings. He’s literally hiding from his past in London’s past while nursing two broken hearts.
The best — and smartest — horror movie in a dozen years, The Cabin in the Woods, is released on Blu-ray and DVD today, and if you missed your chance to see it during its truncated theatrical run earlier this year, rectify that mistake and watch it now.
The brainchild of co-writers Joss Whedon (who also wrote and directed this summer’s megablockbuster, The Avengers) and Cloverfield scribe Drew Goddard (who also directed this masterpiece), Cabin has all the cultural savvy, whip-smart dialogue and razor-sharp meta references one expects from veterans of TV’s Buffy the Vampire Slayer. It’s scary, funny and thought-provoking — all while being wildly entertaining.
It’s not hard to figure out why Snow White and the Huntsman — released on DVD and Blu-ray today — disappointed at the box office earlier this year: It’s a disappointing movie, because it could have been so much more. Whatever it was, it was not the feminist reimagining of the fairy tale that the studio marketing promised.
You should realize your grrrl power movie is in trouble when the biggest change to the well-trod Brothers Grimm story is elevating the male huntsman from a bit player to a leading role. Snow White’s importance still stems from her beauty more than her ability to lug around a sword and her handy knowledge of the castle sewer system. True, she is not as passive as character in the Disney version (no housework for this riot grrrl!), but she still needs rescuing by a strong man — and she’s not exactly a compelling, sympathetic heroine one can easily root for, preferring a sneer to a smile.
Ted is definitely a movie about a living, foul-mouthed teddy bear, but it’s also something else: A shockingly conventional romantic comedy: a Hollywood-standard boy-must-grow-up-to-be-with-the-girl-he-loves story. The gimmick here is that the guy’s immaturity is externalized in the form of a stuffed animal who walks and talks and cusses like a 10-year-old who just learned some new bad words while riding the back of the bus with the older kids.
The advertising campaign makes Ted look like The Hangover with plushies, and you can easily imagine frat-boys dragging unwilling dates to a raunch-fest, only to be confronted by a chick flick in wolf’s clothing. Don’t get me wrong: This movie packs in all the vulgar language it possibly can, up to and including the C-word — which is used by a female character — and there’s plenty of drinking and bong-hits and crude humor, but there’s no nudity. Unless you count bare… emotions.