“Warlock’s Cross” is a Doctor Who audio play from Big Finish Productions starring Sylvester McCoy, settling quite nicely yet again in his role as the Seventh Doctor.  Steve Lyons, a long-time contributor to Doctor Who lore, provides the final entry into what has apparently dubbed as the UNIT trilogy featuring the damaged Lieutenant Daniel Hopkins, played by Blake Harrison.  Hopkins has encountered two previous versions of the Doctor in “The Helliax Rift” and “Hour of the Cybermen”.  Tracey Childs also returns as Dr. Elizabeth Klein, everyone’s favorite temporally misplaced former Nazi from an alternative timeline.  Yeah…this is why I love the series. It can get so insane trying to explain these things.

Anyway, the Doctor comes across a group of malcontents protesting the apparent mistreatment of visitors from the stars, trying to take down UNIT, or United Nations Intelligence Taskforce for the uninitiated.  After being imprisoned yet again, the Doctor has a bit of an uneasy alliance with Hopkins and UNIT when they investigate the presence of a long-buried spacecraft with troubling psychic influences that feed on doubts and hidden fears.

I am not sure I would call this Lyons’ greatest contribution to the series, but it gets the job done.  McCoy is still quite energetic and intriguing with his take on the Doctor, certainly one of the more manipulative and dangerous incarnations of the Time Lord. Of course, this Doctor can often seem more innocuous at times, but we fans know better. I know some Big Finish fans are huge Klein fans, but I sort of thought her story was done. I am not sure her inclusion in this added that much to it.  Hopkins is a rather intriguing character, however there could also be a danger of him being a bit overused as well. To be fair, it has been a few years since Klein’s last appearance in the range.  I just am not someone who wistfully hopes some other reason could be concocted for her to make another return.

This is a reasonably enjoyable episode in which the chemistry of the cast led by McCoy’s energy helps considerably.

“Beware, My Lovely” is a 1952 thriller that stars Ida Lupino, Robert Ryan, and Taylor Holmes in a film directed by Harry Horner.  Mel Dinelli wrote the script which was apparently based on his own play entitled “The Man”.

Ida Lupino plays a widow who impulsively hires a handyman who has wandered into town.  Robert Ryan is cast in the role as the handyman known as Howard Wilton who has some serious mental health issues.  The widow finds herself trapped in the house with him and his schizophrenic delusions.

This is a pretty good one with strong performances from Lupino and Ryan.  The ending is a little peculiar but it works.  Ryan gives a pretty chilling performance and be quire disturbing.

The story has an interesting history of being adapted several times in different media, including as a radio play.  I would say this one not be one to miss for those of us interested in classic cinema.

“Doctor Who” has been a huge part of my life for over thirty years.  I have now finished watching the latest episodes that have Jodie Whittaker in the lead.  After the part of the Doctor had been played by men for over half a century, a woman was cast as the wandering, trouble prone Time Lord.  I was one of the skeptics of this decision when it was first announced in 2017.  Now, there seems to be some discussion about changing the gender of James Bond although Barbara Broccoli, the head producer of that film franchise, has been clearer lately about that not being considered.  “Doctor Who” has a bit more of a possibility of working a change of gender into the narrative since the Doctor is not human and is able to regenerate into other people.  “Doctor Who” lands it self to some flexibility in many ways, however the whole thing can still come apart.

There is this thought that “Doctor Who” is about change and freedom or something along this lines.  The show is about a traveler in time and space who happens to be good at fighting off alien menaces and other such crises.  The concept of regeneration started out of necessity and a desire to keep a promising show on the air when the first lead actor, William Hartnell, got too ill to continue in the role.  In spite of the changes the show has endured over the years, some simple concepts should remain in place.  If the show was all about change, why not ditch the police box disguise for the TARDIS?

As far as I feel about the show now, I am at a bit of an emotional quandary.  I am not yet ready to stomp off and swear off new “Doctor Who” although my enthusiasm for this era has waned considerably.  I am still an avid collector the novels and Big Finish audio plays.  I think the problems with this past series that introduced Whittaker into the role are pretty deep and numerous.  I think the notion of the Doctor regenerating into a woman could have worked with a better head producer.  Then, we get into the ideas of one Chris Chibnall.  He was the head writer for a show called “Broadchurch” which had David Tennant, aka the Tenth Doctor, with Jodie Whittaker also in that cast.  I am doubtful that any real serious audition took place for the current Doctor before the announcement of Whittaker being in the role.

One of the ideas I had was it may have been a good idea to get rid of long story arcs, which Chibnall actually did, however his episodes are not all that interesting.  Other fans complain of the PC and social justice elements being so prominent.  “Doctor Who” has addressed issues such as prejudice and pollution in the classic era, however it was handled a bit more subtly and with better scripting.  “Doctor Who” is primarily a science fiction adventure series.  People tune in to escape the trappings of reality for a brief time.
Chibnall’s hiring for the role of head producer is somewhat baffling since the previous episodes he wrote in the series since it was revived in 2005 are not that widely acclaimed by the fans.  I think Nicholas Briggs would have been a much more exciting selection since the direction he has helped guide the Big Finish series in is much more to my liking.

Now the encouraging thing about “Doctor Who” is that it could get better.  It may not be all that necessary to boot Whittaker out of the role if the writing and the direction could be better implemented.  I think the TARDIS is a little crowded, however the Doctor having three companion has been done before.  I hope I can rediscover some enthusiasm for new television episodes one day soon. Fortunately, the Big Finish audios will help me through such troubling times as they have before.’

I would also like to say that some of the viciousness from other fans is a bit troubling. I think those who expressed some concern about casting a female in the lead role should not automatically be dismissed as sexist dinosaurs or whatever.  Some other commentators expressed outright hatred for the show’s current trajectory. I am not there yet, but I do think some of the harsher criticisms have some merit.

My enjoyment of the series as a whole is too deep and long for me to give up on it just yet. When the show comes back in 2020, I will be watching and commenting.  I am not satisfied with the current direction, but I remain hopeful that I will regain enthusiasm and excitement for new episodes once it returns.

“Resolution” is the only new Doctor Who episode to be aired by BBC in 2019.  Jodie Whittaker returns to the role as the Doctor alongside Bradley Walsh, Tosin Cole, and Mandip Gill.  Head writer, Chris Chibnall, penned this episode and still has not gotten  much better.  This episode irritated me a little less than his previous installments in the painfully mediocre eleventh series of the revived version that started in 2005.

The Thirteenth Doctor faces a Dalek. That’s right…one bloody Dalek that has apparently been trapped on our fair planet since the ninth century.  The Dalek managed to escape a destroyed casing after being revived and took over a poor woman forcing her to gather materials to build a new casing.  I was pleased to see that Nicholas Briggs returned to voice the Dalek.  I guess he still has a gig whenever the Daleks return.

There’s a couple of personal storylines in that the audience meets Ryan Sinclair’s estranged father, so some issues there get some resolution.

I have thought over recent years that Daleks could be overused, however their inclusion this time has become a necessity since the Doctor’s reaction to their presence should be familiar each time.  Whittaker still hasn’t gotten me on board with any sort of enthusiasm with her version of the Doctor, however her having to face the Dalek helped a little.  Chris Chibnall spent so much time trying to come up with new adversaries this past series and failing to come up with anything too engaging or memorable, it was a relief to see that he kept some familiarity with the Doctor’s most enduring enemies.

There were two other characters in this episode served as temporary companions making the TARDOS even more crowded.  Walsh still services as the heart of the new crew as Graham O’Brien.  He is surprisingly the best addition to this cast.

Chibnall still fails to impress me with his direction for the series, however this episode was a bit better than recent episodes.  Whittaker had a couple of amusing moments, but she just needs better scripts for her Doctor.

I do enjoy the visual effects of the TARDIS traveling through the space/time vortex.  The special effects overall were fine.

It appears that the next series is not due to be aired until early 2020.  Hopefully, Chibnall starts to respect the long-time fans such as yours truly and look into putting some more elements that are more familiar to that segment of fandom.

“Resolution” isn’t great but not as obnoxious as some of the recent preceding episodes.

“Bumblebee” is a new prequel to the “Transformers” franchise that was helmed by Michael Bay.  Travis Knight directed this film which was scripted by Christina Hodson. Hailee Steinfeld and John Cena star in this film.

The film starts off with a battle on the home planet of the Transformers in which B-127 is sent to Earth to prepare the way for his fellow Autobots can arrive to regroup in their ongoing war with the Decepticons. Once B-127 arrives on Earth, he has a violent encounter with two Decepticons that leaves him mute and with amnesia.  Disguised as a dilapidated Volkswagen Beetle, he is found by a young girl grieving the loss of her father. Steinfeld plays the mechanically inclined Charlie Watson and is pretty good.  Two other Decepticons manage to find the hapless and damaged Autobot, tricking the US military into assisting them in their search.  John Cena is actually pretty entertaining as the headstrong colonel with a bit of unusual wit for this kind of role.

I had a trouble getting engaged in the first half of the film, but it does get better.  I admit that I never really watched the “Transformers” film series directed by Michael Bay.  I did end up enjoying this movie more than I expected though.  There were some great action sequences and visual effects. John Cena, who is probably not known to for his range of acting ability, was actually pretty good in this one. Steinfeld carried the movie well herself.

It has been noted that this film is likely the best installment in the “Transformers” franchise, and I suspect the consensus is likely correct there.

“Bird Box” is the latest film starring Sandra Bullock, which is directed by Susanne Bier.  Eric Heisserer wrote the screen play which is based on the novel by Josh Malerman. Sarah Paulson, John Malkovich, and Trevante Rhodes are also included in the cast.

This is one of those films that keeps shifting between the past and the present events. The planet has been invaded by some entities that cause insanity and overwhelming suicidal impulses when looked upon.  Birds seem able to detect their presence, fluttering and chirping insanely whenever these creatures are nearby.  Sandra Bullock plays a woman named Malorie who, then the film starts off, has care of two children. They are compelled to take a two day river trip in a canoe blindfolded to seek refuge from the malevolent entities that has been unleashed upon them.  During the perilous journey is where the flashbacks occur, depicting the previous five years that has led Malorie and the two young charges to their predicament.

The film has many familiar elements in somewhat post-apocalyptic scenarios.  There is a diverse group of people trapped in a confined area having to keep the windows covered.  Desperate people show up at times.  Supplies are dwindling. The usual challenges and obstacles for these types of situations.

Anyway, there is quite a bit of reliance of some extraordinary luck for the main characters to survive.  It is pretty hard to buy into at times, however I thought the performances were solid enough for the most part.  With actors such as Bullock and Malkovich, that sort of helps keep the interest engaged.

I admit I got intrigued by the trailers and was interested to see it.  Although I would not describe my reaction as disappointment, I doubt that I will go out of my way to see it again.  It was interesting for the most part but could get a bit too absurd at times, even for a film of this genre.

It’s a Netflix film exclusively, so either get a subscription or mooch off a friend’s like I did.

“The Green Train” is a thriller by Herbert Lieberman first published by Avon Books in 1986.  Just before crossing the border into Finland, the passengers aboard what is dubbed “The Green Train” are delayed when Russian soldiers surround them and keep them just a few miles from freedom as they search for some classified documents that were stolen.

This is a novel that drags a little at times, although I did find that Lieberman has an engaging prose style.  Some of the slowness is likely a consequence of having a pretty isolated setting.  There are some interesting encounters between some of the passengers and a Russian colonel determined to root out the suspected spies.

I picked this novel up in a used bookstore in Colorado.  I had never heard of Herbert Lieberman before, but I may be on the lookout for some of his other works.  I don’t think he was really all that known, but he seems to have had a steady career.  This just turned out to be a random discovery in the bookstore that was actually a bit more enjoyable than I anticipated.

I will next be reading another installment in the series featuring the shell-shocked yet persistent Scotland Yard Inspector Ian Rutledge in Charles Todd’s “The Gate Keeper”.

“Welcome to Marwen” is a film directed by the usually reliable and interesting Robert Zemeckis and stars Steve Carell, Leslie Mann, Diane Kruger, and Janelle Monae.  Zemeckis co-wrote this script with Caroline Thompson.

It’s a shame I did not enjoy this film more since I generally look forward to a Zemeckis project.  The film is based on the story of an artist named Mark Hogancamp who was attacked and beaten nearly to death by five men in an ill-advised run-in at a local bar. Instead of conventional PTSD therapy, Hogancamp creates a world made out of dollhouses and engages in fantasies with the use of various dolls as some escape into a fantasy world where he is a World War II fighter pilot aided by a group of women based on those Hogancamp knows in the real world.  The dolls seemingly take on a life of their own, and Hogancamp finds his fantasy world blurring and interfering with his real life. He makes his living photographing various scenes in this miniature village with the use of his village.  Of course, lots of symbolism keeps coming up.  To add to his troubles, the sentencing hearing for the attackers is coming up, and the prosecutor believes it to be imperative that Hogancamp provide his impact statement in order to help ensure a more appropriate sentence.  He also has an art showing to prepare for as well.  A pretty new neighbor moves across the street who could be a catalyst for Hogancamp to make strides in his recovery.

The basic idea for the story was interesting enough, but it was not executed all that well, with the exception of the visual effects.  The constant shift to the Marwen fantasy was at times intrusive, frustrating me when some interesting developments were starting to emerge in the real world events.  I also had some trouble buying in a prosecutor putting such weight on a victim of a violent crime as if an impact statement could really influence the severity of the sentence.  I am not sure that victim impact testimonies really have that much influence on the harshness of the sentence imposed as was suggested in this film.  It was not clear as if the bad guys lost at trial or entered some kind of plea deal.  If there was a trial, Hogancamp would have testified during that. It just didn’t make sense and troubled me more after I left the theater and ruminated on the nonsense of it all.

Carell is a fine actor and did his best here. I can’t really find much significant fault with the performances, but the writing and editing fall short.  The film does not flow very well and shifts between Marwen and the real world are pretty jarring.

Also, the attackers were represented as Nazi dolls, which is a little overused these days.  This film is said to have been based on a true story, but it is one of those where it is absurdly easy to sense that a boatload of creative license was utilized.

The overall talents of Robert Zemeckis and Steven Carell can be indisputable, however this particular offering turns out to not be a very example of those gifts for which both are known.

“The Mule” is the latest film directed by and starring Hollywood elder statesman Clint Eastwood and was scripted by Nick Schenk.  An impressive cast includes Bradley Cooper, Michael Pena, Laurence Fishburne, Dianne Wiest, and Andy Garcia.  Clint’s own daughter, Alison Eastwood, also does well as the embittered offspring of his character, Earl Stone.  The film draws its inspiration from the story of Leo Sharp who became a drug courier in his eighties.

A 90 year-old horticulturist is estranged from his family and is about to be in some serious financial trouble as he stumbles into a lucrative yet dangerous career of being a cartel drug courier.  Cooper and Pena play the DEA agencies who are on the hunt for the cartel members.

Eastwood still can be an engaging screen presence at 88 years of age.  I did notice there was a reliance on a somewhat standard schtick of his these days where he plays the old guy not quite up on the conventions of the day.  I did roll my eyes a bit when he once again used racial epithets that are no longer accepted or ignored as easily they were a few decades ago.  It just seems more noticeable in recent films and a little overdone by now.  I don’t think I found it offensive, but I just found that particular practice a bit too typical of Eastwood’s work lately and I am uncertain as to the purpose of him revisiting it.

The message of people needing to place more of a priority on the family over work was somewhat hammered a bit too hard at times, but I can’t necessarily argue with importance of it.  Eastwood isn’t known for his subtlety.

There are some great shots of the landscape during Earl’s road trips sometimes.  Eastwood is still a talented director and a compelling performer.  Although it is much easier to believe that he is approaching his ninth decade.   Strangely, I do still hope he is not ready to retire yet.

The performances from the main cast were good.  Some of the cartel thugs seemed a little stereotyped and cliché, but I am not sure there is a real good way to avoid that since most of them were not that consequential to the story.

This is still one of Eastwood’s strongest films in recent years.  The issues I have with it did not keep me from having some significant enjoyment.  It’s still fun to see a new Eastwood film.  He still seems able to draw out some engaging performances from the cast members.  He is still able to produce that unique, familiar charisma that only he can do.

“The Mule” is still a film worth watching and appreciating while hoping that Clint isn’t done just yet.

“Ben Is Back” is a drama film written and directed by Peter Hedges about a young man who has been in recovery from drug addiction suddenly returning home for Christmas much to the chagrin of his sister and step-father.  His mother is delighted to see him but is reminded of the caution she needs to have considering the heart-wrenching fallout from the kid’s misdeeds.

Julia Roberts, Lucas Hedges, and Courtney B. Vance are at the head of this talented cast. Vance and Roberts play the suspicious step-father and doting mother, respectively.

I actually appreciated that this movie went in unexpected directions throughout.  I felt quite a bit of tension wondering if young Ben has already relapsed or was about to relapse.  Kudos to Peter Hedges for handling that quite masterfully.

There were a few peculiar writing decisions such as a snatched family pet becoming the catalyst for a quest embarked on by mother and son.  This where the mother gets more of an idea of what Ben was willing to do to get high and is quite appalled.

This probably goes without saying considering the reputation of the cast, but I will note it regardless.  The performances were quite strong. The actors playing Ben’s younger siblings also managed quite well.

There were some aspects of the film that didn’t seem all that credible, probably because there were certain sequences that felt a little rushed.

I did double-check this so it appears that Lucas Hedges is actually the son of the writer/director.  Sometimes nepotism is the right way to go.

I would have liked to have known a little more background of this family at times.  The ending was a little too abrupt for my liking, but that is all I will say about that.

It’s one of those films with a tough subject matter in exploring the chaos and heartbreak experienced by the family members of drug addicts.  Not every scene or syllable works in this movie, but most of it turns out well.  The movie does manage to avoid several predictable and cliched directions that many in this genre tend to take.

If one doesn’t mind a little more weight and emotional upheaval in their cinematic viewing, this is a pretty well done piece of work.