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Doctor Who, Ep. 8.11-12, “Dark Water” and “Death in Heaven” a solid but disappointing end

Showrunner Steven Moffat has stayed away from two-parters for a while, but as is traditional for Doctor Who, a new Doctor means a fresh start for the show and it’s only fitting that the Twelfth Doctor get the same two-parter blowout end-of-first-series as his predecessors. After a season of teases, Missy is revealed as the latest regeneration of the Master (Missy being a shortening of the Mistress) and she’s come to Earth to turn the entire population of the planet, current and former, into a massive army for the Doctor, so they can be buddies in universal domination. As far as plans go, it makes sense for the Master, even if it is a bit disappointing. Michelle Gomez is fun in the role, particularly in “Death in Heaven*,” but seeing the Master reduced to an agent of chaos, rather than someone with a particular agenda or motivation all their own, feels more appropriate for a mid-season romp than a season-ending two-parter.

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‘The World’s End’ is more than just a Pegg/Wright hits collection

Without much fanfare, Edgar Wright has molded himself into one of the best action directors in the world. Shaun of the Dead had many effective moments of zombie slaughter, and, with Hot Fuzz, Wright matured into someone who could simultaneously parody Michael Bay and deliver Bay-type material more effectively than the man himself. The third film in Wright’s so-called Cornetto trilogy of films made with actors Nick Frost and Simon Pegg, The World’s End, goes even further. It becomes a sharp and riveting action-comedy that has few peers in the last decade.

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The Once and Future Kings: ‘The World’s End’ is a triumph for Pegg, Frost, and Wright

To exit a film directed by Edgar Wright is to be reinvigorated by the state of modern cinema. He’s now made his fourth feature-length film, The World’s End, and it’s tempting to rate it as his best work yet. But when you consider his others—Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. The World—the challenge becomes differentiating these by how many slight nitpicks may crop up from story to story. Like most directors of his generation, Wright’s work is heavily influenced by the pop culture of his childhood. Unlike many of his peers, though, Wright is able to translate that affection and hyper-literate awareness into something fresh, exciting, and intelligent. As such, The World’s End is as peerless as a mainstream film gets.

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Win Double Passes for the Toronto Premiere of ‘The World’s End’

For their final instalment of what is now known as the Three Flavours Cornetto Trilogy, Edgar Wright, Simon Pegg, and Nick Frost aren’t holding back with their signature brew of camaraderie, knockabout humor, excessive quaffing, questionable life choices, hand-to-hand combat, and explosive surprises. The newest movie from the creative team behind Shaun of the Dead …

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‘Snow White and the Huntsman’ is a film of arguably hollow pleasures, but it’s a commanding fantasy with a potent chilly atmosphere

Snow White and the Huntsman Written by Evan Daugherty, John Lee Hancock and Hossein Amini Directed by Rupert Sanders USA, 2012 The more – pardon the pun – grim of 2012’s two adaptations of the Grimm brothers’ classic tale isn’t quite as dark a revisionist reworking of the Snow White story as some in other …

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