Doctor Who. Series 7, Episode 12: "Nightmare in Silver"

BBC via DCT

This episode has three selling points.

1. NEIL GAIMAN
This episode is the second one penned by the famous writer. I think he set the precedent for high-brow authors writing for low-brow television.

Litstack

"I'm simply following in Neil's footsteps."

Neil Gaiman - Neverwhere (BBC Radio 4)

Nonstndrd

Not the actual BBC Radio 4 logo, but bloody brilliant design.

If you think radio plays are for the lower class, think again. The BBC has proven that radio plays are far from dead, and is possibly the only non-musical auditory art form. I think.

The Hollywood News

Who's the guy at the back who looks like a wrestler/Guy Fawkes mask?

Doctor Who. Series 6

I admit I am not a proper Whovian. That's what they call Doctor Who fans. The only reason I watched this show was because I have this big crush on Karen Gillan. Like by watching it, she'd somehow step out of the telly (see, I call it the telly now) and flash her gorgeous legs right in my face. Okay, wait. Enough daydreaming.

"Dream on."

Anyway, my first Doctor was Matt Smith. I have never seen David Tennant's Doctor, nor Christopher Eccleston's. Though I have heard some great reviews about Tom Baker's Doctor. But I do not regret starting with the Eleventh Doctor. Matt Smith is great. A straight-up weirdo.

The first series with Matt Smith (by the way, in America they call it a "season"; in England they call it a "series"), which is Series 5, was already reviewed by Claire. One noticeable thing with that series is that the opening credits show only two names, Matt Smith and Karen Gillan. This series now has three names in the opening credits, the new name being Arthur Darvill (who plays Rory "the Roman"). So now the Doctor has two companions. Instead of one really hot one.

Coraline

This was recommended by someone (who I found out later hasn't seen it yet) who said that this is a good film. I watched it not knowing it would be stop-motion clay animation, and it didn't really disappoint at all. It's a Neil Gaiman story anyway. That alone is enough invitation to watch it.

Coraline (voiced by Dakota Fanning) just moved to an old apartment home with her very busy parents. As she explores her new home, she finds a small door all bricked up. During the night though, the small door opens to an alternate reality where her "other" parents actually acknowledge her presence and everybody has buttons for eyes. As Coraline realizes she wants to be with her real parents more, Other Mother (voiced by Teri Hatcher who also voiced Real Mother) turns ugly inside out. She must now rely on her instincts plus a little help from her friends to set her real parents and herself free from this otherworldly situation.

I actually liked the opening credits or the making of Coraline-the-doll (used to spy on her real life by Other Mother). It's like watching Edward Scissorhands do a project─crafty. According to IMDb, this is the longest stop-motion animation, and it was shot in 3D. Kudos to the people behind the film, it's a real sight for sore eyes with the characters and sets' elaborate takes. Stop motion animation rules! But boo to me not having to watch in in 3D, though I don't know if it would have made a diff.

I can't help but point out its similarities to Alice in Wonderland─the small door, the cat, the evil mother or queen. I'm not sure if young kids would appreciate a sort of creepy-dark-but-cute graphics, but it's surely watchable mainly because it does not only have a story but its storytelling is also solid for the win (unlike a random dream sequence). Dakota Fanning sounds younger than her real age, but just perfect for her character. It's also refreshing─and surprisingly good─to hear Teri Hatcher not being the "desperate housewife" or Lois Lane.


Coraline gets eight out of ten, for a solid story and for taking stop motion animation a notch higher.


*photo from movies.ign.com

Anansi Boys

Question: Neil Gaiman is:
a) an alien;
b) a mythical creature in human form;
c) a god;
d) a literary genius;
e) a very close friend of Tori Amos;
f) a, b, and c only;
g) d and e only;
h) all of the above;
i) none of the above.

(That's how one of my favorite law school professors makes his multiple choice exams.)

Anyway, Anansi Boys is Gaiman's latest novel, although this review is three years late (the book came out in 2005). This more or less follows a similar reality with his earlier novel American Gods. The basic premise is that what if gods could be incarnated in human form? What happens to any offspring they might produce? And Gaiman shows us three possible answers as to what their children might be. They could be: a) half-human, half-god; b) either full human or full god; or c) both human and god at the same time. Anyway, that's delving too deep in the philosophy of Neil Gaiman's mythical universe. I'm sure all the author wants us to do is enjoy reading.

I commend the author on his willingness to break new ground, as he draws his characters this time from world mythology, specifically the folk tales of Ghana's Ashanti tribe. Western literary mythology should no longer be limited to Greek or Norse tales. This is already the new millennium, and it should be the duty of all human beings to familiarize themselves with the mythology of the rest of the planet.

And true to form, Neil Gaiman delivers an amazing read, which for me is much better crafted than American Gods. Of course, this is Gaiman's second take using the same reality, and with a four-year gap between the two novels, obviously Anansi Boys has already perfected the formula.

I wouldn't even try to attempt to write about Neil Gaiman's mythology, as that in itself can already be a full thesis for a Comparative LIterature major. Besides, words can barely describe the richness, and the strangeness, of Gaiman's universe. If a writer's word choice were like his or her literary DNA, then Neil Gaiman's genetic code would stand out like a gigantic, mutant sea monster. Only Gaiman can write like Gaiman, and if you haven't been introduced to his writing yet, this book would be a good book to start with.

Aside from the strangely beautiful universe spun by the author, this book's selling point would probably be its humor, as it is written in a noticeably more comical tone than American Gods. Humorous storytelling is definitely the most effective approach when telling a tale of gods and mortals, and Gaiman exploits this with great results.

Again, a salute to a great writer, whose works will still be read a hundred years from now. So to all you readers out there, start reading this book (if you haven't read it yet), as we all eagerly await the next book from "the rock star of literature" (it's probably the hair).


Rating: Four stars.

Stardust

Now this is what I call a great story.

Adapted from the Neil Gaiman graphic novel, this is a love story told in a parallel universe, where stars become beautiful women, witches eat hearts to look young, and shop boys become kings.

Stunning visuals, a great storyline, plus great performances from Michelle Pfeiffer as an aging hag and Bobby D as a queer pirate will make this a classic to watch. Plus the soothing voice of Ian McKellen as the narrator will lull you into bedtime story-state, for greater effect.

An interesting question to ask would be: Would it have made a big difference if they let Peter O'Toole narrate and let Ian McKellen play the king?

Rating: Four and a half stars.

Beowulf

All the English majors, say it with me: That's not how the story goes!

If it were any other writer, the script would probably be criticized by English Department chairpersons as a desacration to one of the first epics of English literature. But then again, this is Neil Gaiman folks, and Neil Gaiman can get away with anything.

The retelling is brilliant, the direction (by Robert Zemeckis) is top-notch, but the medium somehow just doesn't cut it. I still prefer live action anyday. But then again, that's just me.

Things to watch out for: Brilliant performances by Sir Hannibal Lecter himself (who apparently accepted the movie without any prior knowledge of the original Beowulf epic, and having only read his own lines in the script); John Malkovich, delivering the brand of sarcasm that only he can deliver; the ubiquitous Brendan Gleeson, who seems to pull off any role given to him; the computer-generated Mrs. Brad Pitt, who looks beautiful without the fine lines; and the great Ray Winstone, who looks more like Sean Bean here.

Rating: Three stars.

Smoke and Mirrors: Short Fictions and Illusions

One of Mr. Gaiman's earlier works, because fans will notice that his writing style is slightly different from what it is now. This is of course a positive comment, not intended to belittle Gaiman's style. I have nothing but admiration for Gaiman's writing style, which only a true fan will dissect enough to actually try and duplicate.

And like in a music album, where the first track is the track that hooks you into listening to the rest, so does the first story of Smoke and Mirrors draw you into the wonderful mind of Mr. Neil Gaiman. Notable also is what one could call the seed (or probably one of the early drafts, we'll never know) of Gaiman's co-written screenplay for the 2007 film Beowulf.

Plus, in the spirit of the holidays, I immensely enjoyed his 100-word story on Santa Claus. Neil Gaiman retains his status as the rock star of the literary world.

Rating: Five stars.