19 Reviews
A Dark and Scary Place
The year is 2257. The setting: Babylon 5, last of the Babylon space stations. After the Earth - Minbari War ten years before, the Earth Alliance had commissioned the building of a neutral port of call for diplomats, refugees and travellers from a hundred worlds. It is now their last best hope for peace since Babylon 1-3 were sabotaged and destroyed, and Babylon 4 vanished without trace 24 hours after becoming operational.
Lyta Alexander arrives to take her place as resident telepath on Babylon 5. Commander Jeffrey Sinclair shows her to her quarters, cutting through the alien sector where the atmospheres and gravitational rotations are adjusted to suit the requirements of individual species. A human has arrived on the station with the throng of visitors. As he schemes behind closed doors, a mysterious limpet-like craft latches on to the hull and begins penetration.
The four main ambassadors operate as an advisory council to their races, like the old United Nations on Earth. Delenn represents the Minbari, comprised of three casts, religious, warrior and worker. Londo is the representative of Centauri Prime; the Centauri are grouped into houses, rather like ancient China, although Londo himself comes across as a gambler and womaniser, an individual nobody takes very seriously. G'Kar is from the Narn homeworld, a seemingly warlike race of humanoid reptilians.
The Vorlon Kosh, the last of the main four ambassadors, catches security off-guard by arriving two days early. No human has ever seen a Vorlon. When Kosh arrives a sudden power loss means Sinclair, chief of security Michael Garibaldi and first officer Laurel Takashima are locked behind a door leading to the docking bay. When it opens they find Kosh has been attacked. They get Kosh to medlab where they plan to open the encounter suit - in which the true being is encased - to assess the injuries. However, the Vorlons refuse permission for security reasons. Doctor Benjamin Kyle is ordered by Sinclair to carry out the tests anyway and he soon discovers that Kosh has been poisoned.
The doctor and Laurel persuade Lyta to perform an unauthorised telepathic scan on Kosh to find out what he saw, because if Kosh dies the Vorlons could retaliate and the consequences would be disastrous. When Lyta experiences a mental image of Sinclair slapping a poison patch on Kosh there is an immediate hearing. G'Kar acts as prosecution, suggesting Sinclair be tried in a court of law on the Vorlon homeworld.
Del Varner, the suspicious human visitor to the station, seems to be the obvious link until he is found murdered in his quarters, putting the frantic investigation back to square one. Having identified the poison, Doctor Kyle begins work on a counter-agent, with time seriously running out for Kosh.
Lyta tries to sabotage the progress of ambassador Kosh by attacking the doctor and altering medlab instruments, but Kyle manages to injure her and stabilise Kosh. It turns out that the aggressor wasn't really Lyta but an imposter. The limpet ship is a short-range vessel large enough to carry only one individual. That person is a shapeshifter, which is why Kosh saw Sinclair attack him. Sinclair and the others trace the energy output required to produce a holographic field, and Sinclair and Garibaldi (with flying recorder in tow) go hunting.
The Vorlon ships arrive demanding that Sinclair be handed over. Laurel patches into the recorder's images and broadcasts to the Vorlons. Kosh recovers, and Sinclair discovers G'Kar's Narn ship brought the changeling to the station, but has no definite proof. He bluffs G'kar into thinking he has swallowed an electronic locator device.
J. Michael Straczynski had carried many of the situations and ideas for Babylon 5 around in his head for five years before he got the chance to write the pilot. The Gathering was the selling point for the entire serial. It was offered around the TV stations and within minutes he would see eyes glaze over. Warner Brothers immediately understood the concept, however. For JMS it was a chance at last to realise his vision. "You just hope it's something close to how you conceptualise it. When I told Warner it was a five-year arc, they said 'You'll be lucky to get ten episodes, what makes you think you'll get five years?' I said, 'We're on a mission from God, all right? That's how I know.' They laughed."
When JMS became executive producer for The Gathering he made a couple of small changes to the finished product and let it go. He now admits that was a huge mistake, because just complaints were aimed at the lack of humour and characterisation, which were left on the cutting room floor. Obviously, he jumped at the chance when T&T offered him the opportunity to reconstruct and edit it for DVD, as part of the 5 TV movie boxset released on region 1. However, the film store which all the takes were in was damaged in an earthquake. Rats infiltrated through the fissures and ate some of the film, and there was additional stock which could not be used. Testament to the fact he learned a lot between the pilot and the first series about how the project should work was the evident complete change in look and feel on this producer's cut of The Gathering. Scenes have been rearranged, extended or edited, and the effects updated to reveal a finished product which naturally falls more in line now with the five seasons and other TV movies; whereas the original format looked a little stilted and felt too cold and clinical whilst still displaying all the makings of a stunningly original show.
Many of Babylon 5's story threads saw their origins first mentioned in The Gathering. There is the fact that Sinclair has a period of amnesia that he can't account for; the mysterious Grey Council, a group of the most influencial Minbari; the Earth-Minbari War, during which the latter astoundingly made the decision to surrender when they were at the point of winning (Delenn was originally to have been a male who becomes a female after metamorphosis, but the production suffered problems with the voice. And on the subject of voices, the studio asked for Patricia (Lyta) Tallman's voice to be looped because it was too harsh, and after the pilot aired they told JMS that she wasn't very convincing! So for this version of The gathering the original voice was used. The Psycorps, of which Lyta Alexander is a registered member, is to become a regular headache for Babylon 5 independent operations in the future.
On the subject of characterisation, Laurel Takashima was the person who was originally going to turn traitor, but actress Tamlyn Tomita didn't feel comfortable in the role so they went for someone stronger. Ed Wasser, who plays ops man Guerra under the orders of Takashima, would later return in a regular role as the Shadows' emissary, Morden. In this pilot G'kar is seen as the overall protagonist. The idea from the start was that JMS would offer a package which we are used to seeing as an audience, and then during the course of the series proceed to take everything we think we know and turn it on its head.
During the vision of the poisoning JMS admits that the patch was slapped on to a human hand which should not have been there. Similarly, why is there water leaking in when Sinclair and Garibaldi look over the damaged limpet (or spider) craft?! However, the pilot showed much promise for the five-year story arc to come. The sets and lighting are top-notch, and the computer-generated effects (innovative at the time) have been updated for the region 1 special edition. The amount of music by Christopher Franke has been doubled for this version. Straczynski could have left the final epilogue out of the re-gig, wherein Laurel announces that Babylon 5 is open for business, but that's a minor quibble.
The new version of The Gathering incorporates an entertaining and informative commentary by J.Michael Straczynski and Production Designer John Lacovelli (he reveals that whenever a member of cast or crew made a mistake the others would say, "There's a hole in you mind."), and an optional introduction to the story. Many changes took place (all for the better) between the recording of The Gathering and the beginning of Season 1, so it's rather ironic that the original format of the pilot was televised at the end of the first season in the US (Channel 4 flew the flag in the UK). Nevertheless, you have to admire the faith and confidence JMS had in Babylon 5; the original ideas, the determination to turn events and characters on their heads (it's all too easy to be protective of your characters), and the plain logic of revealing only the currently relevant snippets of information to the studio executives and particularly the actors, so as not to influence their decisions.
A solid start showing only a tantalising hint of the magic to come over the next five years.
(Review by Ty Power. A shorter version of this review originally appeared on my previous website 2005).
Babylon 5 is a spacestation which replaces four abortive attempts to create a meeting place for the representatives of the five major races, as well as the non-aligned worlds. Although a major city in itself, housing defence systems, trade centres and recreation, its primary purpose is as an independent embassy for diplomatic negotiations between the Mimbari, the Narn, the Centauri, the Vorlons and the Humans, represented by the Earth Alliance. There's plenty of action and intrigue, and nobody is exactly the person they seem to be...
Every so often a TV show emerges which annihilates all the current competition in terms of subject matter, storylines and production values. In case you were wondering, I'm talking about Babylon 5. How refreshing it is to have such diverse characters, who are changed forever by events. This is not your standard story of the week science fiction, featuring injuries, near-death experiences and emotional conflict which is conveniently forgotten by the next episode. Every major decision has far-reaching consequences, and every choice repercussions that might affect people immediately or come back to haunt them when they (and you, as the viewer) least expect it. It reminds me somewhat of the political chess-moves of ancient China or Japan; honour and diplomacy is always in the forefront, with assassins or covert arrangements made in the background.
Season Two sees almost as many changes as there were between the feature-length pilot, The Gathering, and the start of season One. There is a major personnel change, with Commander Jeffrey Sinclair being replaced with the more dynamic Captain John Sheridan. Sinclair is mysteriously spirited away to the Mimbari homeworld, and pops up now and again in future stories. Ambassador Kosh goes from enigmatic soothsayer to anti-hero manipulator, as the others learn there is an ulterior motive for everything he does. From short-tempered aggressor, G'Kar becomes a poet, diplomat and religious ikon. Londo makes the transition from drunken reveller to the most dangerous individual around. Of course, none of this happens overnight, and creator J. Michael Straczynski kept his plot-strands bible close to his chest, giving the actors no inkling of what was to come, so it's compelling to witness the transmogrifications and the events that cause them.
This season there's significantly less stand-alone stories; Straczynski pens fifteen of the twenty-two episodes, and the five-year arc begins to take a firmer hold. The Coming of Shadows season teases us with the coming threat to all the races, but for the meantime centres primarily on the present conflict between the Narn and the Centauri. Particularly strong episodes include: In the Shadow of Z'ha'dum, wherein Sheridan pushes his luck to learn more information about his presumed-dead wife, and finds himself confronted with the original homeworld of the Shadows; The Long, Twilight Struggle, which follows a major battle between the Narn and the Centauri; and The Fall of Night, in which surprising connections are made between the Shadows and Kosh's race, the Vorlons.
This six-disc set benefits from digital widescreen transfers and is beautifully remastered in Dolby digital 5.1. Two episodes contain an optional commentary by the man himself, J. Michael Straczynski, The Geometry of Shadows has a joint commentary by Bruce Boxleitner (Sheridan), Claudia Christian (Lt. Com. Susan Ivanova) and Jerry Doyle (Security Chief Michael Garibaldi). There is also a Season Two introduction from Straczynski and various cast and crew. Other extras include two new documentaries: Building Babylon: Anatomy of an Episode, and Shadows and Dreams: Honors of Babylon ( in which the crew talk about the Hugo awards success). There is an Audio-visual Archive split into Personnel Files, Data Files, Tech Files, and an Historical Timeline.
Season Two is the final place that I would advise any new viewers to jump on board. From here on in it is essential to follow every episode. I would have given this excellent release a 10, but as anyone who has seen season four will testify, the best is yet to come!
The story so far... Babylon 5 is the last of the neutral outposts, a five-mile long space station designed as a meeting place for diplomats, traders and entrepreneurs, and considered to be the last best hope for peace. Permanently based here are the ambassadors of four prominent races: Delenn of the Minbari, an old race consisting of warrior and religious casts (who also fought a major war with Earth, before mysteriously surrendering when they had the upper hand); Londo of the Centauri, an imperial Romanlike people steeped in blood; G'Kar of the Narn, the reptilian looking race (actually marsupials) which has long lived under the pressure of war; and Kosh of the Vorlons, an ancient race, the identity of which is concealed within encounter suits.
G'Kar extends a hand of friendship, but Londo authorises an attack on a Narn outpost, causing a terrible war. Londo's mysterious allies in the offensive come via a human called Morden. Delenn undergoes a metamorphosis which prophecy dictates will bring the Minbari and human races closer together, and aid in the struggle against the greater threat. Kosh, after revealing his true form (appearing differently to each witness) to save Sheridan from an act of terrorism, becomes even more illusive and somewhat sinister. The greater threat to all races is discovered to be the Shadows, oldest of the First Ones, last seen in local space by other races more than a thousand years ago...
In season three the stakes are raised, there is plenty of upheaval, and nothing ever feels comfortable again. Every event produces major consequences which reverberate through the storylines so that you never discount the possibility of a central character being killed or changed in such a significant way that they effectively become somebody else. Every episode makes for compelling viewing.
Matters of Honor kicks us off in fine style. Londo, realising at last who his dangerous benefactors are, tries to sever his ties with them, an act which proves practically impossible. In the same story, we see the arrival of new regular, Marcus Cole, a representative of the Rangers, a highly-trained unit created by Sinclair, Babylon 5's original commander (during season one) from the Mimbari homeworld - their mission to collect intelligence on the Shadows. Sheridan sets up a regular secret war council with Delenn; and we see the White Star for the first time, a beautiful Mimbari warship incorporating organic Vorlon technology, which can generate its own jump points between star systems. Sheridan is given command of the ship by Delenn.
In Voices of Authority, Susan Ivanova tries to enlist the aid of another race of First Ones in the fight against the Shadows, but receives only a noncommittal reply. In Messages From Earth, Sheridan attempts to prevent the re-activation of a dormant Shadow vessel. Point of No Return sees Earth's current martial law extended to the Earthforce-run Babylon 5, but Sheridan finds a way to combat the Night Watch enforcers. The follow-up, Severed Dreams, has Earthforce destroyers arriving to demand Sheridan's surrender. But Sheridan decides to fight. Sheridan forms a romantic as well as strong political alliance with Delenn, in Sic Transit Vir. In Interludes and Examinations, Sheridan asks Kosh for help in securing a morale-boosting small victory against the Shadows.
So, plenty going on. Television just doesn't get any better than Babylon 5. They say that the best special effects are those which you don't notice. This is never more true than in Babylon 5. This is not so much science fiction, as war, mind games and political intrigue within a science fiction setting.
The characters, stories and situations are so strong and gripping that you quickly forget someone is wearing prosthetics and make-up, and that the wonderfully realised sets are not on a five-mile long station but a huge series of warehouse spaces. And talking of the sets, these have escalated from 12 main sets in the pilot episode, to over 300 by the end of season three.
The computer generated imagery used for the Babylon 5 exteriors, assorted spacecraft and battles, and the jumpgates, was pretty much in its infancy but still looks superb and brilliantly understated today. Just watch the fighter craft being released downwards from the launchbays, or witness a Shadow craft materialising into real space to understand what I mean.
Extras in this case consist of three new documentaries: Behind the Mask: Creating the aliens of Babylon 5; Building a better Narn; and Designing Tomorrow: The look of Babylon 5. There is also The Universe of Babylon 5, containing video data files, personnel files, and a Shadow dossier. Commentaries for two episodes come from series creator J. Michael Straczynski, and a further one from four regular cast members.
Talk of synergy and juxtapositions; this is a series where every component was right, creating a balance you seldom, if ever, see elsewhere. J. Michael Straczynski was a genius to have come up with such a concept and five-year story arc, but he must also be counted fortunate to have assembled such a strong team, both in front of and behind camera.
Buy this to see what you've been missing, and wait with baited breath for the faultless perfection that is season 4. I was going to hold off my maximum points until that coveted season, but this is very nearly as good.
A potted history... Babylon 5 is the last of the neutral outposts, a five-mile long space station designed as a meeting place for diplomats, traders and entrepreneurs, and considered to be the last best hope for peace. Permanently based here are the ambassadors of four prominent races: Delenn of the Minbari, an old race consisting of warrior and religious casts (who also fought a major war with Earth, before mysteriously surrendering when they had the upper hand); Londo of the Centauri, an imperial Roman-like people steeped in blood; G'Kar of the Narn, the reptilian looking race (actually marsupials) which has long lived under the pressure of war; and Kosh of the Vorlons, an ancient race, the identity of which is concealed within encounter suits.
G'Kar extends a hand of friendship, but Londo authorises an attack on a Narn outpost, causing a terrible war. Londo's mysterious allies in the offensive come via a human called Morden. Delenn undergoes a metamorphosis which prophecy dictates will bring the Minbari and human races closer together, and aid in the struggle against the greater threat. Kosh, after revealing his true form (appearing differently to each witness) to save Sheridan from an act of terrorism, becomes even more illusive and somewhat sinister. The greater threat to all races is discovered to be the Shadows, oldest of the First Ones, last seen in local space by other races more than a thousand years ago.
Londo, realising at last who his dangerous benefactors are, tries to sever his ties with them, an act which proves practically impossible. New regular Marcus Cole arrives, a representative of the Rangers, a highly-trained unit created by Sinclair, Babylon 5's original commander (during season one) from the Minbari homeworld - their mission to collect intelligence on the Shadows. Sheridan sets up a regular secret war council with Delenn; and we see the White Star for the first time, a beautiful Minbari warship incorporating organic Vorlon technology, which can generate its own jump points between star systems. Sheridan is given command of the ship by Delenn.
Commander Susan Ivanova enlists the aid of another race of First Ones in the fight against the Shadows, and Sheridan attempts to prevent the re-activation of a dormant Shadow vessel. Earth's current martial law is extended to the Earthforce-run Babylon 5, but Sheridan finds a way to combat the Night Watch enforcers, and declares their independence from Earth. Earthforce destroyers arrive to demand Sheridan's surrender, but the captain decides to fight, aided by Minbari allies. Sheridan forms a romantic as well as strong political alliance with Delenn. Sheridan asks Kosh for help in securing a morale-boosting small victory against the Shadows, but Kosh is killed by Shadow agents in retaliation.
The season three cliff-hanger sees Sheridan journey to Z'ha'dum, from which "no one returns", the home planet of the Shadows, when dubious intelligence reaches him that his wife might still be alive. Once there he walks into a trap. By remote signal he brings in a White Star containing nuclear devices, to crash into the planet's surface. The voice of the replacement Kosh in Sheridan's head urges him to jump into an abyss and certain death.
It was the year of fire...
So here we go with season four, and it's difficult to know exactly where to start, there's so much to say. The passages above which briefly describe the story so far are important to newcomers to the series because it's necessary to paint a picture of the Babylon 5 universe before mentioning additional plot points... particularly when they're this good! The opening titles, which change each year, this time has every main character speaking a line of the narrative (see above). However, this is greatly thought out, with the line spoken reflecting that character's direction during the season.
From the very first episode you are dragged along, breathless, by the relentless pace of events. Sheridan is presumed dead, and Susan Ivanova fails to rally alliance members for a scout mission to Z'ha'dum. Security Chief Michael Garibaldi is missing, and G'kar decides to go in search of his friend, but falls into the hands of the Centauri. Londo discovers that Emperor Cartagia, who is as mad as a box of frogs, has made an arrangement with the Shadows, allowing them to base some ships on the homeworld. He must organise Cartagia's death in order to save his people from conquest. Sheridan finds himself confused and alone deep in the catacombs of Z'ha'dum, where he meets Lorien and learns that he is caught between life and death. Phew! And that's just the first two episodes.
Writer/creator J. Michael Straczynski was uncertain at the time whether his five-year story arc would receive backing for a fifth season, so much of what was planned for the last season was brought forward to this one. Consequentially, this season is a rollercoaster ride of anxiety-based events. With Sheridan's fleet caught between a Vorlon conflict with the Shadows, Garibaldi returning changed so that his loyalty and very sanity hang in the balance, the elevated threat of Bester and the Psi Corps, misinformation about the station being broadcast from Earth, and the final battles with the Shadows and Earthforce, by the end of this season either your head will have exploded or you will be sitting in silence thinking, "Bloody hell!"
In short, this is 22 episodes of pure genius. Every part is meticulously and lovingly crafted by J. Michael Straczynski, the writing so tight and the acting carrying such conviction that, whether a character laughs, cries or shouts in anger, you are taken in one-hundred per cent.
Again, excellently packaged, this set contains six discs and includes the following extras: Celestial Sounds, following the remarkable impact of Christopher Franke's music on the series; The Complete No Surrender, No Retreat DVD Suite (music accompanying a well-assembled montage of clips from the season); The Universe of Babylon 5, containing audio/visual Data Files and Personnel Files; a Gag Reel; and three commentaries (two by Straczynski, and one jointly by Bruce Boxleitner [Sheridan], Jerry Doyle [Garibaldi], Peter Jurasik [Londo] and Patricia Tallman [rogue telepath Lyta Alexander]).
A quite staggering piece of work, and the best television ever seen, bar none! Accept no substitutes.
We are Rangers.
We walk in the dark places no others will enter.
We do not break away from combat.
We stand on the bridge and no one may pass.
We do not retreat whatever the reason.
We live for the one, we die for the one.
A Ranger ship is tailing a vessel from a new race which has been responsible for several raids, when it is in return attacked. With the captain dead and weapons down, the highest ranking officer, David Martell, stands down from the chase. Subsequently, he is accused of breaking the Rangers' most strict rule of never disengaging from a fight. He is on the brink of being dismissed, even though his crew realise he made the decision to save their lives and the ship, and stand with him. The Narn Ambassador G'Kar intervenes in the Mimbari Grey Council session (who originally formed the Rangers). He has been asked to find out more about the new race, and sees this as one possibility. Martell is reinstated but as the captain of an old ship which is considered haunted and bad luck. The Valen is a new Ranger ship transporting several diplomats to a colony world. Martell's first job in the old ship is to escort them, but the new enemy attacks and the Valen is lost after ejecting the diplomats in pods, which the little ship collects. Then a spy is discovered in their midst...
The Legend of the Rangers was intended to be the pilot episode of a spin-off series from the first-rate Babylon 5, originally planned prior to the 13-part Crusade spin-off. In fact, it even carries a typical Straczynski poetical title: To Live and Die in Starlight.
Whilst far from being the best charge from the impressive Babylon 5 canon, it is jam-packed with potential. There's intrigue from the start, not so much from the story but rather the situations - the actual environment the characters are placed in. The decor and technology is purposefully different to that from the five-year arc that was Babylon 5. References are made to events which have gone before, but it's to the writer's credit that no prior knowledge of the programme is necessary. Also, for the old fans there is the comfortable slippers effect to carry you over this transitional period, with the return of Christopher Franke to the music composition (missing for Crusade), and of course the presence of G'kar.
I realise it takes time to accept a new format and particularly new faces; however, in truth it's the actors that let the side down. Not the entire cast, but I would change the majority of the main players. I grew to like Gideon in Crusade; David Martell in Legend is another matter. He seems to be a stereotypical young captain of the 1960s Captain Kirk ilk, with little or no personality whatsoever. Of the nine new crew members of this old dilapidated ship - comprising 4 human, 3 Minbari, 1 Narn and 1 Drazi - I would retain only two. The others are faceless. Weapons and tactical expert Sarah Cantrell, from Mars colony, simply makes herself look foolish when she slides into a weapons station which shows her surrounded by space. Her body flips over and she hurls firepower by physically punching and kicking it out, the ship responding to her movements. On paper this is a sensible science fiction idea, but on film it's so cringeworthy that you actually feel embarrassed for her. When she quickens her movements, anger rising, you just want to laugh.
The two characters which stand out like a shining light are the Minbari Dulan and the Drazi Turk. Since the Millennium Falcon in Star Wars it's no new idea to have a small bucket-of-bolts ship as the central focus. The film Event Horizon gave us the notion of a haunted spacecraft, but that was the ship taking on its own dark sentience, whereas in this instance the previous crew is dead but still present. It's a nice touch to have Dulan being a sensitive and the only person able to see the individual crew members.
The potential for story plots based on this alone are endless. When the new crew introduce themselves to each other in the traditional Ranger manner of revealing their name and something about the inner psyche, the Drazi Turk hesitates before announcing enthusiastically, "Turk... Drazi... I carry very large things..." Turk doesn't pretend to be anything he's not. Slightly slow, but very strong and useful, he's obviously intended as the light relief. Unsurprisingly, G'kar is the best character here, with many of the best lines (the moment when he peeks into the cowl of a Council member is priceless), but he's not meant as a regular.
With only two decent portrayals it might make you think The Legend of the Rangers has nothing going for it. All I would say is look to The Gathering, the feature length Babylon 5 pilot. Between that and the first episode pretty much of the style and structure had changed quite drastically, and many from the main cast were replaced. When the Region 1 version of the Babylon 5 TV Movie Box Set was released with the full five films, it came with a super-improved cut of The Gathering, proving just what can be achieved with the nucleus of a good idea.
Enjoy, and imagine the possibilities.
At last the sixties Batman film in its original widescreen format. There's so much to mention about this that it's difficult to know quite where to begin. Suffice to say Batman the Movie is a delight from start to finish.
The Penguin (Burgess Meredith), the Joker (Cesar Romero), the Riddler (Frank Gorshin) and Catwoman (Lee Meriwether) join forces to form The United Underworld (sounds like a political organisation!). They kidnap Commodore Schmitlapp, an eccentric inventor, and use his creation to extract the water content from the bodies of the nine members of The United World Security Council, demanding one billion dollars from each relevant country for their return. Along the way they make several attempts to rid themselves of the presence of the Dynamic Duo.
The vehicles are all present: the Batmobile, the Batboat, the Batcycle and sidecar - all looking impressive except perhaps the Batcopter. Virtually everything utilised by Batman and Robin has a 'Bat' prefix to it, including mundane items. Batdrift angle, automatic Bathold, the clearly marked Batladder, and the Shark Repellent Batspray which he uses to persuade a rubber shark to release his leg, to name but a few.
The zany humour is the mainstay of the film; the plot is absolutely littered with verbal and visual gags, all the more amusing for being played straight - in a camp sort of way. Writer Lorenzo Semple, Jr. deserves much credit for the constant high level of self-deprecating jokes. The ridiculing of its own format was a large reason for the series' popularity, which remains with us even today.
Alfred driving the Batmobile in his butler suit with only a Robin type mask to disguise his identity; the Batcopter crash landing on foam rubber outside a wholesalers, after a near miss with one of the Riddler's polaris missiles; the porpoise which throws itself into the path of a torpedo to save the lives of Batman and Robin; the formation pacing in Commissioner Gordon's office.; the henchman eyeing Catwoman strangely when she starts making mewling noises; Batman destroying torpedoes with a radio receiver (teaching Jon Pertwee everything he knows about reversing the polarity); and the Admiralty selling a navy surplus pre-atomic submarine to a Mr P.N. Guin, who doesn't even leave a forwarding address. The in-jokes are countless.
Then there are the one-liners. "Let's go... but inconspicuously. Through the window." Confounded by the likes of nuns, ducklings, the Salvation Army, and courting couples, Batman utters the classic line, "Some days you just can't get rid of a bomb!"
(Review by Ty Power. A shorter version of this review appeared in DreamWatch magazine 1995).
The year is 2267 A.D. The Shadow War is long over and the Psicorps has been officially disbanded. However, a new threat comes in the form of the Drakh Plague. After fending off a Drakh offensive of Earth, the human homeworld is obliged to quarantine itself. The Drakh have left behind a microbial, biogenetic plague which, after the estimated five years it will take to adjust to our biology, will kill everyone on the planet. Captain Matthew Gideon (Gary Cole) is given command of the Excalibur, the latest and fastest exploration ship Earth has, and a mission to do whatever is necessary to find a cure or combatant to the plague...
Other assembled key crew members include Lieutenant John Matheson (Daniel Dae Kim), Gideon's First Officer and the first telepath to be admitted in to Earthforce; Max Ellerson (Daniel Allen Brooks), a sometimes hot-headed and selfish but expert archaeologist and linguist; Dureena Nafeel (Carrie Dobro), an accomplished thief and locksmith; Dr. Sarah Chambers (Marjean Holden), the ship's medical doctor; and Galen (Peter Woodward), a powerful Technomage who uses science to simulate magic. Also credited among the regular cast is Captain Elizabeth Lochley (Tracy Scoggins), the character from the latter part of Babylon 5, but with the series having it's plug pulled after only thirteen episodes it's a case of spot the Lochley. Answers on a postcard please. I suppose I should also mention that Dr. Stephen Franklin (Richard Biggs), the Babylon 5 medical officer, guest stars in episode thirteen. Unlucky for some; we'll blame him then, shall we?
Crusade is a spin-off series from the situations created in Babylon 5. In fact, the Babylon 5 TV movie A Call to Arms sets the scene with the Drakh battle and the first action of the Excalibur.
The good thing is it's not necessary to have any knowledge of that TV movie, as this pretty much starts afresh. In theory, this show would have run a similar five-year arc as the Babylon 5 series, and it's sad that we never got to appreciate its full potential.
I know that J. Michael Straczynski is working on an original feature film set in the Babylon 5 universe, but perhaps he might take the Joss Whedon path on Firefly and attempt to rekindle the series with a movie. Let's hope so.
Crusade starts slow but soon gets moving. One of the most difficult arrangements to pull off convincingly is tackled in practically the first scene. The multiple fist-fight comes across as being more than a little contrived, and also in the first episode John Matheson does little more than release a half-smile every now and then. He's a character that will gradually grow on you, although at times you'll want to shake him in to some sort of activity.
By the second episode the show is already well into its stride, supported by two main strengths. The first is the writing of J. Michael Straczynski, which is as tight and plot-driven as ever. As with Jeremiah, Straczynski's most recent TV serial, you can instantly tell which episodes he has written himself because the quality of output is so much better. Thankfully, of the thirteen parts collected together in this attractive package, all but three are written by the man himself.
The second strength is the character of Galen, brilliantly portrayed by Peter Woodward (son of Edward). Galen has some of the qualities of the first Kosh in Babylon 5, but is significantly more multifaceted. He makes infuriatingly vague comments, he comes and goes like the wind, gives the Impression of being all-powerful and all-knowing when he's clearly not and, best of all, his quirky enthusiasm for the smallest events hook you and reel you in. Galen turns a good show into a great show.
One of the best episodes, in my humble opinion, is The Long Road, in which Edward Woodward plays a Technomage trying to scare away strip minors from his adopted planet. There's plenty of twists and turns, and the victims are not beyond using ruthless means to get their way. It must have been quite strange for Peter Woodward to play against his father.
Extras include commentaries for two episodes, The Making of Crusade documentary, and Forging Excalibur: describing the layout and capabilities of the starship.
This set is well worth a look, as long as you don't expect a conclusion to the Plague story; the nearest you'll get is a hint at a new experiment in the episode Each Night I Dream of Home. It didn't bother me. I just wished for more.
All hail Straczynski.
After receiving a piece of volcanic rock which harbours an inherent man-made object, Professor Lindenbrook and a young fellow academic (who is suitor to Lindenbrook’s daughter) travel to Iceland in the footsteps of a renowned missing explorer. Along with the widow of another murdered adventurer, a strong Icelandic farmer and his pet duck, they discover the entry point which they hope will take them to the centre of the Earth. There is a veritable wealth of wonders including a cavern of crystals, an entire ocean and prehistoric creatures. But there is also danger, not least from a greedy and jealous rival expedition...
Before I get to the film I’d just like to share my amusement at being justified so soon after my review of Kim Newman’s Video Dungeon book of B-Movie critiques. In said review I describe Newman’s collection of pieces as coming across rather dry and I would much rather watch him enthuse about his subject on camera. And here he is on the extras for this disc doing exactly that. Very entertaining it is too.
As for the film itself – all 129 minutes of it: you wouldn’t think it would work putting together an established actor such as James Mason with a crooner like Pat Boone. But work it does. Boone even gets his solo song piece when his character woos his love-interest on the piano prior to the journey.
Jules Verne stories are grand fantastical adventures on a wide landscape. They are more about what happens along the way than the achievement of completing them. Transferred to cinema that means the spectacle is the meat and gravy, as opposed to any outcome. So we have a number of set pieces. The number of scenes with monsters is reduced from the book to only a couple of moments wherein iguana-type lizards run around with fins strapped to their backs. The journey itself is a gentlemanly Victorian – almost Cyberpunk romp, with brass wind-up lamps and cumbersome breathing apparatus.
The comedy element is supposed to come with the presence of the duck, but thankfully it isn’t played for slapstick silliness. Ironically, the most horrific moment of the film comes with the off-screen demise of said duck. That dastardly villain quickly gets his comeuppance though.
This release brings a new 4K restoration, 5.1 sound, an isolated soundtrack, the aforementioned Kim Newman interview, a commentary by actress Diane Baker and film historians Steven C. Smith and Nick Redman, and a restoration featurette.
Journey to the Center (Centre to us Brits) of the Earth doesn’t create excitement to put you on the edge of your seat, but it remains an enjoyable experience