Review: Hannibal: Season 1, Episode 10 – Buffet Froid

(Spoilers!)

In an improvement from last week’s lull arrives Buffet Froid – an aptly named episode as this week’s combination of scares, graphic imagery and complex mental health issues create an altogether chilling affair.

In a pre-credit sequence we are introduced to Beth LeBeau, wondering around her house in the depths of the night attempting to fix various household issues keeping her awake. The use of a torch to emphasise shadows, various close ups on insignificant features and her nonchalant manner as she roams her creepy residence is a set up we are all too familiar with – we continuously watch the peripherals of the shot waiting for the inevitable bogeyman (whatever its guise) to emerge and cause her demise. When LeBeau returns to her room ready to get back into bed, she notices a trail leading under it, sure enough she is pulled under in a manner of all horror clichés, followed by a spurt of assumingly her blood. Ladies and gentleman, I believe we have just been introduced to our serial killer of the week and one, that we soon realise at the crime scene, defaces victims by giving them what is referred to as a Glasgow Smile. 

Returning to the crime scene, Will Graham discovers the person responsible, once again lingering under the bed in a genuinely eerie sequence. It is a revelation cleverly executed as each horror technique is used to maximum effect heightening the intensity and resultant scares – be it the enveloping darkness or a slow camera pan to scan the room, I've said it before and I’ll say it again, Bryan Fuller knows how to do horror. The person under the bed is Georgia, a young woman who suffers with Cotard’s Syndrome - a mental condition that causes a person to detach from reality and disconnect from their own body. As a result, Georgia believes herself to be dead, all of which is underpinned by her inability to see faces, thus explaining her reason for disfiguring them. It also explains her extremely malnourished and somewhat zombified demeanor.

Obviously using all sense of the word, any serial killer that has featured in this series could be deemed mentally unstable. However Georgia’s condition particularly resonates with the narrative in that she holds certain parallels to the mental condition of Graham – the question of which is central to this episode. Akin to Georgia, he too feels he is “fading” and his sense of self-awareness is increasingly dilapidating. In fact in the episode’s most disorientating moment, boasting a particularly graphic sensibility (lots of blood), a scene cuts from Graham gutting a fish to seriously contaminating the LeBeau crime scene. 

Yet unlike Georgia, Graham knows he is alive and continuously attempts to ground himself in reality by conducting certain self-help techniques suggested by Dr. Lecter. The first of which is to draw the face of a clock, stipulating what time it is. In another shocking moment of this episode, we realise just how spatially disorientated Graham is upon seeing his drawings. The second self-help technique is to state the time, your location and who you are. This attempt to stay connected with reality is perhaps why Graham reaches out to Georgia and holds her hand. As a result, what at first appeared to be a decisively creepy sequence ultimately transgressed into one of the most beautiful and touching moments of this series.

There is a reason for Graham’s mental fragility however, and after meeting with Dr. Sutcliffe, a friend of Lecter’s, we discover Graham has in fact got encephalitis – a condition responsible for his headaches, hallucinations and loss of time. This diagnosis leads to a physiology and psychology dichotomy. Encephalitis is treatable and Graham has a chance of getting better, however if he does, Lecter may as well say goodbye to his beloved friend and psychological guinea pig. So naturally, with Lecter at the helm, psychology prevails and Sutcliffe retains the diagnosis from Graham, declaring there is nothing neurologically unsound. With Sutcliffe alive however, there is always a chance that the true diagnosis will come to fruition. It is no surprise therefore that Lecter proceeds to deface Sutcliffe with a Glasgow Smile. But boy does he, in the episode’s final sequence, we cut to Georgia walking in on Lecter mid-defacement. Originally shrouded beneath a mentally unstable woman evoking sadness and sympathy, Lecter brings the violent act into a new light via pure savagery and carefully added sound effects - quite the contrast to elegant dinner parties (although he still manages to wear a suit). Nevertheless the interaction between himself and Georgia is brilliantly conceived. Despite the lack of dialogue and well...faces, the moment is incredibly evocative. 

Hiding the diagnosis elicits Lecter with complete control over Graham’s identity and mental stability – granting manipulation at the deepest and most psychological level. Why? Well, intentions are ambiguous, but whilst conversing with Sutcliffe we achieve a small understanding of Lecter’s fascination with Graham, in particular his “beautiful” and “remarkably wild imagination”. Through manipulation, Lecter is setting Graham's  “mind on fire” but as Sutcliffe questions, “how far does this go? Do you put out the fire or let it burn?” With only a few episodes left... i'm sure we will soon find out the answer. 

It's 17:06... I'm sat at my laptop... and I am in love with this show. Once again this week's episode was simply adding fuel to a totally different fire than that of Graham's (in)sanity. In addition to carefully broaching the topic of mental health, Buffet Froid is yet another example of Hannibal's brilliant script and performances, top cinematography and a well managed, complex plot. Bloody good job then, that NBC have renewed it for a second season. 

What were your thoughts on this week's episode? Post a comment! 

Up next...

Review: Hannibal: Season 1, Episode 9 - Trou Normand

(Spoilers!)

Episode one through eight of Hannibal have been consistently superb; excellent performances, twisted sub plots and a visual sensibility so beautiful, you find yourself ogling over the most desecrating murders and cannibalistic meals. It was only a matter of time therefore; that this wonderful series should hit a bump in the proverbial rode, or serve a bad dish in keeping with the food puns. Trou Normand, whilst still strong in terms of televisual quality, was no doubt a slight lull.

Ah Grafton, West Virginia – comprising of lovely scenery, beautiful beaches and a totem pole made out of 17 bodies. Not even 20 seconds in to the pre-credit opening and already we are witness to the “serial killer of the week’s” latest exhibit. It is one of an epic scale, where theatricality and hyperbole take precedence... more so than usual. Through Will Graham’s trick of empathy, he concludes the design is a murderous act of careful planning and precision – it is a resume, a body of work, a legacy. Bizarre then, that this is the least compelling and enigmatic crime scene of the entire series. Or perhaps, like Graham, I too may be becoming desensitised to it all. After what appeared to be an all-to-easy and short investigation, the man responsible was found – Lawrence Wells. Turns out he wanted to be caught so he could enjoy the remaining years of his life in prison – a building which he deems would be better than any retirement home he could afford. It’s also discovered that through issues of fidelity and a mistaken case of identity, he unknowingly murdered his own son. Altogether, the usual intense-ridden chase of a psychopath with a flair for artistic display instead felt forced and far too convoluted. 

It did however lead to two far more important and brilliant features of this episode. The first being a small cameo from the one and only Lance Henriksen (who played the role of Wells), the second being Graham’s vastly dilapidating mental state. So far we have seen him sleep walking, hallucinating and hearing strange noises. This week he finds himself losing time, one minute standing at the Grafton crime scene, the next at Dr. Lecter’s office, or teaching to a lecture theatre full of students to teaching well... no one at all. It is safe to say that he is one or two baskets short of a picnic, something that Alana Bloom honestly reminds him, admitting to foregoing any romantic involvement due to his mental instability. How much more can he take? And with losing time and self-awareness, what will he do next? As Lecter himself worries, “I don’t want you to wake up and see a totem of your own making”.

With that in mind, it is only natural that more stress is added to the situation, as Abigail Hobbs comes back into play this episode, leading the main narrative trope. Much like Graham, she too is being haunted by the past, her father’s murder victims and her very own. As a cathartic process and wanting to tell her side of the story, she contacts Freddie Loundes and both decide to write a book on Hobb’s life, her version of the truth. Naturally Graham and Lecter are extremely concerned about this, forewarning of the door it will open and the ensuing consequences. 

Another way in which Hobbs deals with her un-dead daemons is by confronting them, on her own terms. She digs up Nicolas Boyle, the man whom she murdered and Lecter helped cover up. In doing so, the FBI come across the body and bring Hobbs in for questioning, resultant from Jack Crawford’s increasing suspicions of her involvement with the murder and her father’s murders. Throughout questioning, Hobbs inadvertently adheres to said suspicions - she also raises new ones regarding the actions of Lecter. 

These suspicions are confirmed elsewhere, as in a somewhat mid-madness epiphany Graham realises the truth - that Hobbs murdered Boyle. Graham visits Lecter to share this realisation only to discover that Lecter not only knew all along, but also helped cover it up. It's a shocking revelation for Graham, undoubtedly causing hurt and confusion from a friendship that has seemingly consisted of honesty and vulnerability - if Lecter can hide this, what else is he hiding? Nevertheless, Lecter persuades Graham to keep it a secret – as Hobb’s adopted, protective fathers they have a duty to look after her and her future, which means keeping Crawford and the FBI out of this revelation. Okay, swearing Graham to secrecy is no doubt motivated by Lecter’s wishes to save himself from unwanted investigation, but there is also a true sense that Lecter does care about Hobbs and Graham – all three share an intertwining relationship bound in trauma and secrecy. 

Lecter and Hobbs get even closer when she reveals she did play a role in her father’s murders by luring the girls in and befriending them – not a startling revelation but one that no less enforces sympathy. In a somewhat “it was them or me” explanation, she is evidently remorseful and furrows in Lecter’s arms, who promises to protect her from anything monstrous. The ironic beauty is of course being that Lecter is a monster, a dangerous one - with charm, deception, manipulation and worst of all... a heart.

This week comprised of strong performances to carry an incredibly important narrative development; the relationship between Hobbs, Lecter and an increasingly unstable Graham. Whereas previous episodes have wonderfully managed to balance this character driven approach with a crime scene of enigmatic quality, this week’s totem pole affair felt forced, convoluted and unnecessary. I can’t say the episode would have been stronger without it, nor can I deny that visually, it was creative; however, it pains me to say that something was lacking this week. Trou Normand is a dish not bad enough to be sent back to the kitchen, but disappointing enough to conclude that the menu has had better offerings. 

What were your thoughts on this week's episode? Do you agree? Post a comment! 

Next up... 

 

News Round Up: The World's End, Ghostbusters 3, A Field in England AND Halo TV Project with Spielberg at the Helm!

First bit of excitement in the world of film today, is the release of the quad poster for The World's End.

As we already know, this is the final installment in Edgar Wright, Simon Pegg and Nick Frost's Three Flavours Cornetto Trilogy. It follows the story of five childhood friends reuniting in their home town to embark on a previously attempted 12 venue pub crawl which culminates at The World's End. Quite apt really, as it turns out mid-boozing the world may actually end. Previous posters have been a moderate and slightly subtle affair but this is a piece displaying all manners of explosive action and pub weaponry. The tagline 'Prepare to Get Annihilated' is i'm sure just a taster of the witty dialogue that will encompass pub culture and British behavior, already so brilliantly addressed in the trilogy's previous installments, Shaun of the Dead and Hot Fuzz. The World's End is due for release on July 19th.

Elsewhere in the landscape of film today, plot details were revealed for the urban legend that is Ghostbusters 3. Does it exist? Will it go ahead? and more importantly... does Bill Murray reprise his role as Peter Venkman? According to Dan Aykroyd the answer to that is no, but in a recent interview on Larry King Now he stated... 

"There will be a hole for him... If Billy wants to walk in the door and be in the movie, we will find a place". 

One thing is for certain, the film is going ahead and the plot concerns "new research that's being done in particle physics by the young men and women at Columbia University..."

 Aykroyd continues "..Basically, there's research being done that I can say that the world or the dimension that we live in, our four planes of existence, length, height, width and time, become threatened by some of the research that's being done. Ghostbusters -- new Ghostbusters -- have to come and solve the problem". 

Ivan Reitman is rumored to direct with a script from Gene Stupnitsky, Lee Eisenberg and Etan Cohen. A release date has not been revealed yet but 2014 is looking likely. 
(Source: Shock Till You Drop)

Next up - the trailer for Ben Wheatley's new horror A Field in England, which you can catch below...



Described as a 'psychedelic trip into magic and madness' the film is set during the English Civil War in the 17th century. A small group flee from a raging battle and embark on a search to find hidden treasure. Passing a mushroom circle (which provides them with a meal), the group soon descend into terrifying chaos and paranoia. Undoubtedly it looks bonkers but a raw, powerful sensibility is definitely evident, with apparent strong performances to boot. The film will simultaneously see its release in cinemas, On Demand, DVD and television broadcast in the UK on July 5th. 

Lastly and hot off the press, it has within moments been revealed at the latest Xbox Reveal (Xbox One) that Microsoft have confirmed original Xbox TV programming with its first project based on the Halo franchise. Here's the kicker - Steven Spielberg is at the helm. The idea of a Halo adaptation has been thrown about since 2006, however, it wasn't until late 2012, in which Microsoft hired former CBS executive Nancy Tellem, that this planned adaptation would be part of the plan of original Xbox TV content - something they hope will "pioneer the future of TV...". Stay tuned for further developments! 

That's it for now - what are your thoughts on any of the above? Excited by the pairing of Halo and Spielberg? Ghostbusters 3? Will you put yourself through the experience of watching A Field in England? Post a comment! 

Review: Game of Thrones: Season 3, Episode 8 – Second Sons

(Spoilers!)

Michelle MacLaren directs this week, showcasing her eye for staging as sequences are lavishly constructed and themes of duty and honour are brought to fruition. Second Sons focuses on minimal character tropes, a refreshing change for Game of Thrones and an ideal opportunity for lengthier sequences – a change particularly effective in the construction of our first big wedding of the series, the joining of Tyrion Lannister and Sansa Stark.

After a failed attempt at murder, Arya is sulkily taken by The Hound as they mount horse and make their way to the Tully-Frey wedding where she will be reunited with her brother and mother. It’s a very brief sequence, shot in beautiful scenery and perhaps a hint to the developing relationship between the two characters. It won’t be long until Arya realises he’s not as bad as she thinks.

Gendry and Melisandre have arrived at Dragonstone Island – sacrifice o’clock you say? Not quite, Melisandre likes to prep her lambs before the sacrificial ceremony. Gendry meets his uncle, Stannis Baratheon, and is put up in a rather nice chamber within which Melisandre spiels the importance in serving the Lord of the Light (apparently essential for safety and salvation) and thus the relevance of his noble blood. Naturally she de-robes and entices Gendry to bed, in which both share a brief moment of love making before the mood is ruined to say the least. In an incredibly unsettling moment, Melisandre, for the sake of demonstration, places leeches on Gendry’s body, male genitalia included. Castration last week, leeches the next... I’m beginning to think Game of Thrones suffers with a mild case of phallophobia. The leeches are then ceremoniously thrown on to a fire in front of Stannis and Ser Davos. We do not see the outcome but it is a clear testimony to the lengths that Melisandre will go in the act of duty toward her lord... as if we needed any more proof. 

Amidst the plan to sacrifice his nephew, Stannis is clearly suffering with some moral and ethical issues. He visits Ser Davos, and masqueraded as a kind gesture of freedom, reveals all to him clearly wanting to hear that it is a bad idea. Davos unsurprisingly disagrees over the whole scenario – you can’t sacrifice an innocent boy, especially a relative. Stannis must persevere however, as a means of duty. Even though Davos has been the one locked up, perhaps Stannis is the man who is truly trapped – his act of duty are his prison cell bars.  Also It’s ironic really, all this worshiping the Lord of the Light but what exudes from the above characters and their surroundings is a shroud of darkness. 

Elsewhere Daenerys Targaryen and her close advisors are investigating the “powerful friends” the Yunkai Lord referred to last week. They are called the Second Sons, led by a particularly vile man named Meros or Titan’s Bastard. Daenerys arranges a meeting with him, to which he brings along two mercenaries; Prendahl and Daario Naharis. The dragons are absent but Daenerys is by no means less confident as she bravely handles Meros’s piggish behaviour whilst negotiating the prospect of the Second Sons joining her army. The three men have the night to think about it and each question their motives behind battle – money or beauty? In the end, Daario is nominated to trespass into Daenerys’ chamber at night and kill her, as a means of solving this issue that has been placed upon them. Daario trespasses alright, right into the middle of Daenerys’ bath time- queue gratuitous nudity and sexual tension. He presents to Daenerys the heads of his fellow mercenaries and swears his duty, honour and heart to her – looks like Jorah Mormont and Ser Barristan will have another man to deal with in competing for her affection.  

Samwell Tarly and Gilly are still on the run, an unnamed baby in tow. Whilst all three take shelter in an abandoned shack over night, both Samwell and Gilly debate possible names for the new born – some more favourable than others. Their conversation is soon cut short however as an insurmountable horde of crows shriek almost unbearably from the neighbouring tree. Reminiscent to Hitchcock’s masterpiece The Birds, the image is remarkably unsettling – what are the crows doing there? It could be a warning perhaps, for a White Walker is approaching the shack, emerging from the dank and dark woods - It’s his dinner time. The purist in me would prefer a non-CGI Walker and a more primitive approach to the look of these beings. Their crystal clear construction slightly detracts from the eerie sensibility that has denoted the sequence up until this point. Nevertheless, without CGI, the dissipation of the White Walker would not really have been possible. That’s right, after a minor blip with his sword, Samwell reigned triumphant and defeated the White Walker with the weapon he had found previously, one that turns out to be a bad ass obliterator. 

I finish this review in King’s Landing, where the episode showcased its greatest strengths. All of the above, as mentioned, was constructed brilliantly. Although throughout the entirety of the Lannister-Stark wedding, the staging, shot construction and performances were on a whole other level. In the pre-ceremony build up, Tyrion attempts to ease the situation, promising Sansa he will never hurt her. Cersei and Marjory Tyrell engage in a manner brimming with farce and threats, proving that Cersei's sibling affection is only served for the likes of Jaime - “If you ever call us sisters again, I’ll have you strangled in your sleep”. As guests take their place, the ceremony of holy matrimony begins. The snivelling Joffrey walks Sansa down the aisle and after approaching the front, removes Tyrion’s stool to help him cloak Sansa. It is an act of indelible cruelty and one that is masterfully included to take advantage of Tyrion’s height. Joffrey’s mockery and the use of specific shots emphasise Tyrion's stature and thus the metaphorical implications of the entire sequence. The overt, grandiose staging alludes to a sense of overwhelming entrapment. The lavish and elongated walls, windows and walkways imply the act of belittlement. In the grand scheme of things, when it comes to duty, your life and personal feelings are insignificant. 

It is no wonder then that Tyrion has a few too many glasses of wine at the wedding reception, in a familial arrangement so horrific, who wouldn't want to seek escapism through a drop or two. All of this of course is much to the abhorrence of Tywin Lannister. He wants Tyrion to remain alert and sober in order to impregnate Sansa that night, an act which Joffrey also offered to do. I say offered... in his atypical hate-able fashion he didn't give Sansa a choice in the matter. Amidst the food, wine and Olenna Tyrell working out how incestuous the whole scenario is, Joffrey interrupts the frosty merriment and suggests a “bedding ceremony”, a.k.a lets all laugh and watch whilst a very drunk Tyrion attempts to carry Sansa to their chamber and make love. To which Tyrion warns, Joffrey will be “fucking [his] own bride with a wooden cock” if he's not careful, whilst stabbing a knife into the table. A thrilling moment and definitely the best line of the episode. Nevertheless, fulfilling his “god of tits and wine” reputation, Tyrion staggers to the chamber, new wife in tow. Whilst a drunk Tyrion, excellently performed by Peter Dinklage, may elicit humour (which it does), the forceful drinking before consummation is in truth, an incredibly sad affair. Even more so, when Sansa slowly and unwillingly begins to undress. Her de-robing intermittently cut with a confused Tyrion (battling with feelings of lust and honour) is a wonderful moment and utterly compelling. Choosing honour over duty, Tyrion stops Sansa and explains he will not bed her until she wants to, but of course she never will. Gratuitous nudity not needed here, as instead we are dumfounded by a sequence brimming with pure, unadulterated emotion. 

In exploring the themes of duty and honour this week, a particularly sombre tone was set. Amidst the triumph of Samwell and a new found fan for Daenerys, the remaining characters dealt with a manner of moral and ethical issues. The team behind Game of Thrones are as ever proving to be masters of their craft, and much like the Lannister-Stark wedding, each lavish and beautifully constructed episode becomes a paradox to the increasingly horrific. With only two episodes left, how much more horrific can it get? I think we better stock up on wine...  

What were your thoughts on this week's episode? Post a comment! 

News: First Full Trailer for Dexter Season 8!

(Spoilers - if you haven't seen Season 7 I would recommend going no further on this blog post!)

It has arrived - the first full length trailer for Season 8 of Dexter. Previous teasers have shown us already seen footage and only very brief snippets of what is to come. This trailer however, is a full three minutes or so detailing a little more of what to expect when it hits our screens on June 30th. You can catch the trailer below...

Taking us from the intense finale of Season 7 through to the aftermath we see the two main narrative strands that will structure this series. Dexter and Deb's relationship has clearly suffered after the murder of Maria LaGuerta, causing Deb to go on a downward spiral of self-destruction. Then there is Dr. Evelyn Vogel - who specialises in psychiatry and profiling psychopaths. If this trailer is anything to go by, something tells me she could be quite the cause for concern in Dexter's world...

It must be said though, this trailer has upped my level of excitement and I am thoroughly looking forward to what appears to be a tumultuous and intense affair. How do you feel about Season 8 after seeing this trailer? Post a comment! 

Review: Hannibal: Season 1, Episode 8 – Fromage

(Spoilers!)

I don’t think I have ever known a show of recent to be this consistently brilliant – episode eight of Hannibal is once again an absolute joy to watch, as Bryan Fuller displays a strong penchant for intensity and the horrific, whilst exploring the perils of friendship.

In Baltimore, we arrive at a quaint music store run by Franklin’s partner Tobias, whose stringed instruments possess a far more humanistic component. A young boy asks, “Is it true the strings are made of cat guts?!”... “Not always...” Tobias replies, with a smirk on his face. Queue a montage of instrument craftery like no other. Cat guts? No. Human intestines? Absolutely. Already, in a pre-credit sequence, this episode has set itself up for a grueling premise. It has also  made quite the introduction to Tobias, a man who proves to be a strong match for Dr. Lecter. He soon realises however, that there is only enough room for one psychopath in this town. 

Things for Graham are hotting up this week, and I don’t just mean his nightly sweats. The manifestation of Garret Jacob Hobbs and frequent animalistic noises haunting him from his fireplace cause him to seek comfort in Alana Bloom. Both share a passionate kiss this episode, one which felt a little forced and an unnecessary move in their relationship –  more on-screen progression would have served this inevitable outcome a bit better. Regardless, the moment is ultimately ruined by Bloom over-analysing the situation. She doesn't stay the night at Graham’s but walks away, which in some respects is quite the unconventional outcome. Many television productions would take a different route and spend the next five minutes showing us a love scene. Fuller however, makes the right decision for the sake of faithful characterisation. 

Although lady troubles are the least of Graham’s worries this week, as there is a new psychopath in town – one who made quite the entrance onto the FBI’s radar by staging a rather theatrical but brutal stunt. As ever, Fuller presents crimes of the utmost brutality with a flare of beauty. Wonderfully lit, a trombonist from the symphony orchestra sits centre stage, with a stringed instrument planted through his throat, exposing the vocal chords. It is eerily compelling but Fuller doesn't stop there. Whilst empathising with the killer, Graham proceeds to play the instrument. It’s a ballsy move for prime time television and I have to admit, caught me surprise. Damn I love this show. 

Whilst investigating Tobias for the murder, Graham is once again haunted by noises causing him to go outside. Upon return, he finds his accompanying officer murdered and descends into Tobias’s basement, or should I say, laboratory. Here Fuller displays his skills and knowledge of the horror genre, the use of shadows create a dark and oppressive atmosphere, the intensity of which is only heightened through the use of an orchestral score. Intermittent shots of intestines hung to dry or in jars allude to the type of psychopath Graham is dealing with. The manifestation of Hobbs may metaphorically highlight Graham’s dance with darkness, but here, Graham is dealing with a whole other tune. The sequence culminates with Tobias almost strangling him, but thanks to a gun and flexible wrists Graham escapes, as does Tobias who then heads straight to Lecter’s office.

Throughout the episode both Tobias and Lecter metaphysically play a sadistic game of chess. Each bluff, manipulate and make their move as a means of trying to out the other. In an elegant and enigmatic sequence both partake in a very honest piece of discourse. Much like Lecter’s delicious creations, their psychopathic secrets are laid out on the table. Could their similarities ensue a blossoming friendship? Could Hannibal turn into an off-the-track sitcom Tobias & Lecter? One thing is for sure, their dinner parties would be quite the occasion. But no, the truth is that both would rather kill one another instead. Returning to Lecter’s office, their relationship goes from the utmost civility to something of the complete opposite, a violent brawl.

Tobias and Lecter fight using various pieces of stationary and office supplies. For me, the show works best when the battle is of great subtlety, competing intellectually rather than physically, but the physical nature of this sequence is by no means a negative (although Tobias breaking out the wire was a bit bemusing). In atypical Fuller fashion, the fight is well edited, choreographed and it is effective to see Lecter so thrown and dishevelled contrasting the elegant, up kept man we are used to. He remains triumphant however by bludgeoning Tobias with his beloved stag ornament. Checkmate. Not only does Lecter have a way with food, he also has a way with the punches.

The FBI enters the crime scene, Graham included, and upon seeing him Lecter exudes relief at his survival. This episode dealt with their ‘friendship’ superbly this week – there is a genuine care and connection developing for one another. In a wonderful moment, Graham interrupts Lecter and Tobias’ dinner party to reveal he had kissed Bloom. Both then converse in a way that I guess would be the psychopath-come-psychiatrist equivalent of ‘lad banter’. Lecter also confesses to his psychiatrist (nicely played once again by Gillian Anderson) about developing feelings of friendship, at first perhaps for fellow murderer Tobias but as the episode culminates, Graham was the friend all along. Hell, both characters even laugh toward the end... The development of Lecter singularly has been nicely done also. Credit is due to Mads Mikkelsen for playing Lecter superbly, but his feelings for Graham and care for his psychiatrist encourage sentiment toward the cannibal. His realisation of the need for friendship gives the man a heart, and one he doesn't plan on eating.

We are not only continuously dazzled this week with beautiful brutality and sequences of suspense, but we are also treated to a master class of the inner workings of friendship. Last week’s episode gave us an insight to the personal life of Lecter, from his culinary order to bustling social life. This week the exploration is of a more mental sensibility, proving even cannibals need friends... just not ones that try to kill you in your office. 

What were your thoughts on this week's episode? Post a comment!

News Round Up: Remakes, casting and the first official trailer for NBC’s Dracula

It’s official, studio executives have once again been scraping that barrel. I try and be optimistic when it comes to “re-imagining” certain productions but It, Pet Semetery and Gremlins? Stop right there.

Unfortunately the rumours, as I hear it, are true. It was originally picked up to be remade in 2009 before the project came to a halt and fell silent for a few years. In comparison to the two-part television adaptation (1990) of Stephen King’s classic novel, which shot Tim Curry to fame and has forever been held as a classic, David Kajganich is writing the script for a single, feature-length film. Reports are he is aiming for an R rating and hoping to produce a far darker and more accurate portrayal of the novel. Warner Bros have managed to get Cary Fukunaga on board to co-write and direct and Roy Lee, David Katzenberg and Seth Grahame-Smith to produce. No casting announcements have been made and they are still very much in pre-production so it the film won’t be hitting our screens any time soon. 

In keeping with King’s oeuvre, the 1989 cult classic Pet Semetery has also been picked up for remake. Rumour has it Paramount Pictures have selected a script written by Matthew Greenberg and have chosen Alexandre Aja to direct. Apparently shooting will begin next year.

Last but not least, it has been officially announced that the 1980s classic, Gremlins, has been picked up for a remake by Warner Bros. No director has been announced yet but producers are once again Seth Grahame-Smith and David Katzenberg. 

I think the below image says it all...

Casting news now, as two new actresses have joined an already impressive collection of talent for American Horror Story: Coven. Following a tweet from Ryan Murphy, it has been confirmed that Angela Basset (Oscar nominee and Golden Globe winner) and Patti LuPone (winner of Emmy Award and multiple Tony Awards) will be making appearances this season. Details of their characters have not been released and plot outlines still remain unknown – although it has been hinted that this season is of a more romantic, glamorous affair set in multiple cities and time periods. Interesting... What is for sure, however, is that a strong female presence will not be lacking.

In the final bit of news in today’s round up, comes the first official trailer for NBC’s Dracula. Starring Jonathan Rhys Meyers as the iconic figure (named Alexander Grayson), NBC is bringing the classic tale to our screens soon. This version is set in the 19^th century and Meyers’ incarnation is an American entrepreneur who brings modern science, particularly electricity, to a Victorian London society. His trip is not all about targets and sales quotas though, as his true hope is to take revenge on those who have cursed him with immortality. All is going to plan until he meets a woman who he believes is a reincarnation of his dead wife. You can catch the trailer below...

Debates will no doubt surface over the representation of Dracula and the shows comparison to the novel or previous adaptations. However you can’t argue that the production here looks like a particularly lavish and stylish affair, with plenty of flashbacks, fencing, slow motion and sex to boot. It’s no Hannibal though...

Speaking of which, NBC is still undecided on the fate of Hannibal so please, everybody watch – it is truly fantastic.

That’s it for now but I will keep you updated with any further developments!

Review: Game of Thrones: Season 3, Episode 7 – The Bear and the Maiden Fair

(Spoilers!)

George R. R. Martin’s script shines wonderfully this week in an episode that cleverly balances both style and substance in ritualistic character development. Our favourite inhabitants of the seven kingdoms, be they lovers, friends, family or enemies (and this is Game of Thrones so a combination of all four is likely), all go from power struggles to pairings in the most intimate and personal nature.

Jon Snow and Ygritte continue to travel on the green grass side of The Wall amidst beautiful scenery in their quest to Castle Black. But is the grass always greener on the other side? Their playful, romantic banter appears sweet at first, as does Ygritte’s countryside naivety, believing a windmill to be some sort of architectural palace. However, a few warning words from their Wildling companions (“You won’t love him so much when you find out what he really is...”) and here arrives the first sign of trouble in paradise. Jon admits to Ygritte his belief that the Wildlings will never succeed in taking the North - a fair assumption as they have already failed six times in the past. Naturally she disagrees but raises the point that no matter if they die, or who they die for, they’re alive now, and both proceed to passionately kiss. 

Speaking of passion, Robb Stark and his wife Talisa share an intimate, nudey hang out as they stop over night, during their journey to Walder Frey’s keep for the Edmure Tully wedding. This is the longest both have been on screen for quite some time, reminding us of the chemistry and love they share for one another. We also learn that planning a war isn't easy at the best of times, let alone when your spouse is lying naked on a bed declaring she’s pregnant. Although Robb takes a while to catch on, it’s a touching sequence, one that exudes almost too much positivity and has myself in fear of the Game of Thrones 'law'. It never ends well for those who experience true love and happiness...

Speaking of pregnancy, Sansa shares her concerns with Margaery Tyrell over the logistics of conceiving a child with her soon-to-be husband, Tyrion. As both converse we get a true sense of Sansa’s naivety and Margaery’s contrasting experience, which she “learnt” from her mother – another hint alluding to how Margaery really is. It's a subtle but brilliant piece of characterisation. 

On the other side of King's Landing, Tyrion and Bron are having a similar discussion, only Tyrion’s concern is of a more ethical one – having to marry Sansa but wanting to stay with Shae. Bron’s answer? “Wed one, bed the other”, but true to Shae’s strong willed sensibility she is understandably having none of it. Despite Tyrion’s cooperation with the arranged marriage as “duty, not desire”, he still faces losing his beloved. 

If only there was a living example to deter the above from marriage and conception... enter King Joffrey. Tywin pays his beloved Grandson a visit to recount the recent council meetings, resulting in a thoroughly enjoyable sequence. Charles Dance is, as ever, brilliantly exuding dominance as his character and as an actor. It's a power struggle which really only has one true winner. Aided by the clever use of camera angles, Tywin looms over Joffrey in a manner which screams “...you little shit...”, as Joffrey coils within the throne.  He eases the King’s worries over dragon rumours, believing them to be mere curiosities and nothing to fear - although perhaps they should. As Danaerys continues her quest to Westeros, saving slaves along the way, she visits Slavers Bay in a bid to free the Yunkai. Her dragons, continually looking impressive thanks to the special effects team, are proving to be quite the bargaining technique.

Speaking of fear – I am sure many men this week squirmed in their seats whilst watching Theon Greyjoy. To some, the torture story arc is becoming a bit of a tired nuisance. Agreeably it is slightly annoying that nothing has been totally explained, but Iwan Rheon plays the tormentor so brilliantly – it remains a thrill to watch. Theon is obviously traumatised from the whole experience so in a way, we can forgive him for getting involved with the two vampiristic, naked ladies obviously planted to toy with him. Either that or no matter how traumatised he is, he’s still a bit of a sex pest.  Regardless it’s clear that from the off, it will not end well. Sure enough Rheon’s character soon intervenes... with a blade. “I’m not killing you, just making a few alterations” he exclaims, before committing the act of castration. 

Elsewhere Melisandre and Gendry are aboard a ship discussing their untraceable parentals, that is until Gendry discovers his father is Stannis Baratheon and thus possesses noble blood. It is a very short, revelatory sequence but worth a mention merely for its beautiful aerial shot of Stannis’ sunken ship as a result of wildfire. Arya remains with the Brotherhood without Banners, angry at their betrayal. This situation is made even worse when the Brotherhood decide to take a detour, delaying Arya’s return to her family. She proceeds to make an escape but is caught by The Hound.

It is a credit to the writing staff that all of the above narrative tropes and pairings are linked together so well. Whether literally related or thematically, the transgression from one arc to the next feels seamless. Careful and meticulous crafting of this nature is essential to a programme with such a vast and complex array of characters. Perhaps this is why the likes of Bran, Rickon and Jojen feel so out of place and are the least enjoyable. Whilst their quest does link to Jon Snow, the care for these characters still feels a little forced as a means of making up for its irrelevance.  

What about Jaime Lannister and Brienne of Tarth I hear you say? Well the best pairing has of course been saved for last. In a heartfelt and regrettable goodbye, Jaime swears to Brienne that he will return the Stark girls to their mother. He then mounts horse and, accompanied by Harrenhal residents, makes way to King’s Landing. Jaime asks the on-road doctor looking after his amputee wound what will become of Brienne. The doctor replies that she will remain at Harrenhal as no amount of riches offered by her father will suffice, from the belief that they secretly own sapphires. This of course was a previous lie told by Jaime in a bid to save Brienne from degradation in the first place. On realising she will serve as Harrenhals “entertainment”, Jaime’s chivalrous tendencies kick in.

He orders they return to Harrenhal to save her. Upon arrival, he finds Brienne fighting off a bear with a wooden sword for a large crowd of jeery, uncouth men. Think Maximus and the tigers in Gladiator only without the romanticised, shimmery and hyperbolic aesthetic. Instead the sequence possesses an air of brutality and nihilistic realism... CGI bear aside. In an act of sheer bravery, Jaime jumps into the pit and single-handedly (... sorry couldn’t resist) saves Brienne. Jaime then insists on her leaving Harrenhal and exits with a brilliantly executed quip, “... sorry about the sapphires”. Not only is a bear fight and heroism just great, entertaining television, but it is also an insight into just how much Jaime as changed as a character. He’s gone from a carefree, selfish and incestuous being to a caring, brave and valiant man. It will be interesting to see how his relationship with Brienne develops from here. 

So we've had castration, bear fights, power struggles and sex talk this week, all conceived through top performances, an excellent script, beautiful scenery and quality special effects. But... where do we go from here? Throughout remains that ever-present sense of intrigue, a build up of pace and strength – when will it all kick off? As the characters come closer in proximity in every which way, and with only three episodes left, the answer must be soon. Regardless, this week has provided another brilliant step of the way. 

What were your thoughts on this week's episode? Post a comment! 

Review: Hannibal: Season 1, Episode 7 - Sorbet

(Spoilers!)

“Who’s hungry?” Dr. Lecter charmingly asks in a pre-credit sequence. We are Dr! Let us indulge in another magnificent course of this show. As it stands, the Chesapeake Ripper is still at large and the pressure is on for Will Graham and co. to crack the case as two new victims surface. The question is, do both belong to the Ripper or is there another sociopathic killer on the loose? With Jack Crawford eager to catch the man responsible for Miriam’s death, the tension is high and the pressure is on in Hannibal’s most graphic but elegant episode yet.

We begin in a lecture hall with Graham profiling as much as he can of the Ripper – a useful lesson for students, a subtle reminder for us audiences. We are ‘taught’ the Ripper kills in “sounders of three”, skilfully removing organs alluding to an anatomical or surgical know how. More importantly, the Ripper possesses a theatrical and distinctive brutality – an example of which showcased last week, as the arm of his last victim (Miriam) was left to be discovered, even paraded. 

Out of the lecture and into the oesophagus (literally) we join Lecter at the opera in a sequence that boasts beautiful cinematography. The opera singer is lit in a way that presents the utmost glamour and theatricality, setting up a running theme and palette throughout this entire episode. In a post-opera chat, particularly rife with farce, a woman pesters Lecter to cook another feast. In his atypical charming manner, he replies “You cannot force a feast, a feast must present itself... a feast is life, you put life in your belly and you live..." - little do they know he means this literally. Oh Lecter, how you toy with us. 

Poor Crawford – Miriam’s phone calls remain to haunt him and his guilt is even manifesting itself as an organ-harvested Graham. Is he making a mistake pushing Graham on this case? Regardless, both are called to a crime scene in which a body has been found, organs reportedly removed. Could this be another cycle for the Ripper? Both arrive at the scene, a hotel bathroom posessing an identical layout and colour palette to that of Room 237 in The Shining. It’s a nice, subtle inclusion for us horror fanatics out there which will no doubt lead to a minute squeal of glee. As Graham empathises with the killer, the episode delves into particularly gory territory, namely lots of blood and a cardiac massage. From this Graham deduces it was not the Ripper at work but someone else, a killer that didn't mean to kill. As ever, Graham was on the money and they later catch the medical student responsible. Hardly a mushroom growing pharmacist, but a young man who had taken a few too many liberties as a means of getting into the organ harvesting business. With this step back in the case, Crawford asks Graham how he envisages the Ripper, “he looks normal, nobody can tell what he is...”. Cut to Lecter. 

Each week a little more is revealed about Lecter, another layer is peeled away. We learn that just like his patient Franklin, who is getting a little too involved in the doctor-patient relationship, he too gets lonely. One can't help but sympathise with him as he opens his office door to an empty waiting room. Lecter requires human interaction... and not just for food. He also has his own psychiatrist, wonderfully played by Gillian Anderson. In a brief moment of shared discourse, both converse semi-professionally. She profiles Lecter as a man in a “well-tailored person suit”, an analysis so spot on, Graham better watch out. Professionalism soon turns somewhat flirty however and both succumb to a glass of wine – an “unconventional psychiatrist” to say the least. In fact Lecter also flirts with Alana Bloom whilst preparing dinner – turns out our Hannibal is quite the lothario, ever playing to that masquerade of normalcy. His surgical know-how, akin to that of the Ripper, is also discovered by Graham. You’d think this revelation would be a point of epiphany for our favourite FBI profiler but alas, he’s victim to that European charm just as much as the next person. 

Of course the main factor we can deduce from Lecters repertoire of skills and charm is his penchant for cooking. You think we've seen his culinary skills already? Well think again. After praying on his next victim, Mr Caldwell, the episode spirals into intermittent shots of food preparation that would put any round of Masterchef to shame. The particular mode of editing here, capturing Lecters methodical process, is one of a true craft and this week's highlight. Close ups of organ preparation, a rolodex of victims’ calling cards and a recipe box are all cut together, fetishising his cannibalistic process in the most tantalising way. From the operatic score, right down to the calligraphy of each recipe, the whole sequence, and Dr. Lecter himself, possesses pure elegance, grace and beauty. Bryan Fuller is a true master of characterisation and construction. The episode closes with the feast of all feasts, finally, it has life and you guessed it... “nothing is vegetarian”. 

Two killers and two victims later, the Chesapeake Ripper is still at large, as is Lecters meat supply. Strong character development and dialogue continues but visually, this is the episode that has particularly struck a chord. Graham so eloquently explains this week how Lecter's mutilations hide the true nature of his crimes, how every brutal choice of the Ripper has elegance and grace. The same can be said for this very episode and in fact, the whole series. Shown amidst the preparation for the feast, Fuller surrounds each brutality with a magnitude of beauty - from the operatic score, to cinematography, to food pornography. In terms of art and craftsmanship... this is the best episode yet. 

What were your thoughts on this week's episode? Post a comment!