Game of Thrones (Season 1): several noble families with royal ties feud over the right to rule all seven kingdoms in a medieval-ish fantasy epic. One year prior, Spartacus was balls deep in rumpy–pumpy and graphic violence, which felt like it was pushing boundaries; then someone in HBO said had said: “lets take Spartacus as a starting point, then add as much over the top sensational stuff as you can. 3, 2, 1… GO GO GO!” GoT is loaded with full frontal nudity (sausages, chuffs, and udders), blood, gore, prostitutes, lesbians, and as much offensive language as censors allow; not to mention the taboos like breastfeeding and incest being pretty major plot points. Whilst these add to the show’s notoriety, it detracts from the Rome-like inter-weaving political storylines; continually reminding you that it’s actually being pitched at teenage boys. Other than the odd stinker (Arya Stark!!) the cast are generally decent; although different characters giving their roles different levity levels – from scenery chewing (King) to borderline comedic (Bronn). Peter Dinklage is the one actor that really sticks out from the vast ensemble – impressing and entertaining with his larger than life character. Due to the number of characters, families, locations and concurrent plots there’s a lot of dialogue-heavy slapdash whistle-stop history & exposition lectures between characters – some hit the mark better than others, but most are required. While there’s one big “Holy Shit” moment, Season One feels like a 10-hour teaser – promising better things to come; introducing white walkers (zombie-ish creatures), dragons, teeing up a war – but blatantly not following any of it through to anywhere near conclusion.
The Purge: In the near future crime and unemployment are at an all-time low, thanks to the purge – 12 hours every year where all crime is legal. I loves me a good old B-Movie, and this film has it all: a strong single-concept, near-future dystopia, home invasion / terror flick. It’s 80 minutes long, and could have even cut a bit more out of the setup. There’s’ action. There’s some gore. The baddies are sufficiently scary, whilst remaining authentically ‘Kids next door’. Best of all, there’s a serious social commentary that runs through the entire movie; that makes you think about what you’d be doing in this family’s shoes. In fact, the only thing that bugged me about this was that the son was such a complete idiot-hole moron assface – who continually did the most stupid things for no reason (although it did conveniently push the plot along). The Purge is the kind of film that if you don’t buy into the conceit, you’ll completely hate it. I bought into it, and loved every minute of it.
The only two rules of Purge Club
- No government official holding Rank 10 or higher is to be murdered, harmed, have harm caused to them, or in any event brought to harm in any case.
- Weapons above Class 4 are forbidden, meaning that destructive devices (rocket launchers, grenades, bombs or missiles) and explosive materials are excluded from The Purge.
Dredd 3D: during an assessment of a rookie, supercop Judge Dredd and his new partner are locked in a tower-block and forced to fight their way to the top to defeat the main crime-lord, MaMa. It seems to have more than a coincidental resemblance to The Raid in both its premise and visuals – but think less intricate fighting and more people shooting each other for 80 mins. The violence is fairly graphic and hyper-stylised, leaving a lot to love for the action/gore fans. Karl Urban‘s a strange casting decision: not quite big enough to put many bums on seats, but he can chin-act like a boss (essential), fire a big gun (also essential) and his deadpan comic delivery is entertaining – so I guess it all levels out. His sidekick (Olivia Thirlby) and antagonist (Lena Headey) both play their roles very well. The 3D was unnecessary – fast action scenes struggle – and only really comes to life in the Slo-Mo scenes: there’s also plenty ghosting in dark scenes with bright elements. All-in, the CGI-heavy action-centric Dredd 3D maxes out on gore, violence and craziness (like the scene inside the criminal’s mind), but somehow manages to remain short, punchy and entertaining enough to stop you realising how big, loud and dumb it is.