Review Category: DVD/Blu Ray

With much of the apparently $5,000 budget having been raised through an Indiegogo campaign under the 2014 film’s original title Live-in Fear, Brandon Scullion’s debut feature has now been rebranded Consumption for general circulation. It is in truth a fairly bog standard teens-in-peril horror, taking a lot of its inspiration from The Shining (even down to the Scatman Crothers substitute who meets a sticky end just as it looks like he’s about to rescue everyone), albeit one that attempts to articulate something a little more inventive but flounders on a confused and underwritten script and some underwhelming production choices.

Consumption starts as it means to carry on, hamstrung by affectation rather than the authenticity that Scullion is clearly eager to engender. Our four principal characters are driving to an isolated Utah mountain retreat, when Seth (Lautman) reveals to recovering alcoholic Eric (Dorman) that his mother has recently passed away. The conversation is so unnatural that it immediately becomes impossible either to care about its subject or empathise with its participants – and so the film continues, exposing Mallory (Brachfeld) as a self-harmer and providing an unexpected pregnancy for Becca (Greyson), promoting fabrication over spontaneity and underlining every potential subtlety with a sledgehammer approach to foreshadowing and perfunctory character development.

There’s a Lynchian attempt at background characterisation (Geoffrey Gould and Nancy Wolfe as “the Two Pats” are the best reason for watching, however infrequent their appearances), and Maria Olsen’s arrival as Seth’s Mom stirs up the dynamics a little. But with Seth behaving implausibly intransigently, Eric doing his best Jack Torrance and Mallory reacting to the loss of an appendage with about the same lack of enthusiasm as she musters earlier on for Seth’s unconvincing advances, there is little chemistry between the leads and it falls to Becca to court our empathy, simply by being the least unbelievable of the four leads. The actors do their best in what was obviously a hurried turnaround, but with so little warmth and humour and an overreliance on cliché and contrivance, it’s clear that the focus of Scullion’s film is much more on the technicalities of the somewhat messy plot rather than the humanity of its victims.

Ultimately, given the tiny budget, Consumption must be regarded as a success, but that’s an extremely qualified conclusion. The imagery tries too hard to be striking, and the score sacrifices potency in favour of near ubiquitous atmosphere. That the film was written, directed and co-produced by the same man, who also had a hand in the soundtrack and sound editing, is to be applauded in the circumstances. But had he a less singular vision and a greater eye for authenticity, the result could have been so much better.

Special Features: Director’s commentary / Behind the scenes / Trailer

CONSUMPTION / CERT: 15 / DIRECTOR & SCREENPLAY: BRANDON SCULLION / STARRING: ARIELLE BRACHFELD, SARAH GREYSON, DAVID LAUTMAN, CHRIS DORMAN, MARIA OLSEN / RELEASE DATE: OCTOBER 10TH

These days, both Marvel and DC Comics dominate the TV market thanks to the likes of Jessica Jones, Daredevil, Arrow and The Flash, yet the only big sci-fi show still going strong is, of course, Doctor Who. Then out of the blue on the Syfy channel, Dark Matter arrives, which also began life as a comic book series that was produced by Dark Horse, and even though it did borrow familiar elements from shows even the most casual of sci-fi fans would recognise (Firefly, Blake’s 7, etc.), it was a show that ultimately proved to be popular with audiences. Season 1 managed to establish its characters and the universe they inhabited, but with Season 2, they hit the ground running following the shock twist at the end of last series. 

The stakes here are much higher than before, both on a powerful and personal level. Throughout the series we are constantly teased about an impending war between the major corporations that will rise, as well as another betrayal from within the core team, which doesn’t come into play until the final two episodes. Granted, there are contrivances to be found, sorely as a means of getting from point A to point B, but the writing here is still as strong as before. Plus, it certainly didn’t chicken out of its conclusion, which is probably more gut wrenching than the previous series’ gut punching finale. The characters grow and continue to have strong development along with compelling motivations driving them, which goes to show how far they have come from the stiff archetypes they started out as from the very beginning. Like the first season, this series does a commendable job of giving lingering attention to each and every character’s backstory, fleshing them out and making each one dynamic in their own way.

The series cleverly created stories that revolved around that, including the Android starting to develop human qualities (as well as craving for Hot Chocolate), Four wanting to help his people, Six coming to conflict with both loyalties and ideologies and Two trying to escape a near-death situation involving her nanites. This series saw the shocking departure of One, and in his place are two new characters in Devon and Nyx; Devon is ultimately one-dimensional, bland and served no purpose to the plot whatsoever, neither did he make any impact in the slightest. As for Nyx, well, Melanie Liburd was solid in the role, but her character was… there. Not terrible by any means, she was just…like we say… there.

The original six cast members still do a great job in their respective roles; Zoie Palmer is especially fantastic as the Android, still managing to pull off the machine AI side convincingly, whilst also being very endearing with a subtle dose of humour coming through. Melissa O’Neil is also terrific as Two, giving off a real, strong commanding presence, whilst Jodelle Ferland brilliantly conveys both vulnerability and quirkiness as the adorable Five. Anthony Lemke is still a riot as Three, and both Roger Cross and Alex Mallari Jr. still do solid jobs as both Six and Four.

Usually, following seasons can never live up to the first, but here, season 2 manages to stand alongside its first season strongly and proudly. The original characters evolve and mature throughout this series, clarity and depth is given to on-going storylines as well as new ones, and the theme of change is present throughout with the status quo occasionally shaken up. It’ll certainly be interesting to see where the story goes following that finale, but it’s clear that a big future is in store for our ragtag team of antiheroes, and that’s good enough reason to get excited about the future. 

DARK MATTER SEASON 2 / CERT: 15 / DIRECTORS: VARIOUS / SCREENWRITERS: VARIOUS / STARRING: ZOIE PALMER, JODELLE FERLAND, MARC BENDAVID, ANTHONY LEMKE, MELISSA O’NEIL / RELEASE DATE: 10TH OCTOBER

It’s possible that you haven’t even heard of this French film, but sometimes it’s a case of the unknown gems that you uncover being among the best films you see.

The story to this film is simple as can be: a ladybug gets separated from its family and settles in with a troop of black ants who are out scavenging for food for their colony. While helping them to get home with a discarded tin of sugar cubes, they encounter some dastardly red ants who are determined to steal their haul.

There haven’t been a whole range of films that follow a similar template to Who Framed Roger Rabbit?, but Miniscule has live-action, with some stunning vistas and nature photography to pore over, mixed with animation as all the insects are added on top. There is absolutely no dialogue at all, with the creatures all talking via beeps or buzzes.

Now, you might say it sounds like the most kid-friendly load of bubble gum celluloid tosh you’ve ever heard of, and it might just be, but it is truly stunning. Creativity has been given free reign here and it’s all the better for it. Instead of focusing on characters that can sell a toy line and kick-start a franchise, Miniscule is all about the splendour of nature whilst zooming in on the battle that ensues between the black and red ants.

There is a scene that involves an empty soda can containing the red ants and the tin of sugar containing the black ants and the ladybug that can literally challenge any action chase scene that Hollywood can come up with. The siege of the black ant colony by the red ants can match any siege you’ve seen on the big screen too, with some wonderfully imaginative uses of conkers, toothpicks, bug spray and fireworks that will have you grinning like a loon as the action unfolds.

And there’s even a flying chase scene that recalls dog fights and even the speederbike chase in Return of the Jedi.

It’s silly but it’s astoundingly entertaining. The kids will love it, of course, but so will you.

A brilliant family film.

MINISCULE: VALLEY OF THE LOST ANTS / CERT: U / DIRECTOR & SCREENPPLPAY: HELENE GIRAUD, THOMAS SZABO / STARRING: N/A / RELEASE DATE: OUT NOW

Forget whether or not you’re an avid gamer, someone who’s spent hours of online time exploring the lands of Azeroth. Forget whether or not you’re a complete novice, someone who may even get confused between Warcraft and Warhammer. Forget, even, whether or not you’ve seen Peter Jackson’s extended Middle-Earth hexology. None of that really matters. What does matter is when you come to watch Duncan Jones’ Warcraft: The Beginning, can you just “go” with it?

The plot itself is reasonably simple, but it needs to be given the amount of new information most audiences will be expected to absorb. With their world dying, a war band of Orcs led by the evil Gul’dan (we know he’s evil because he wears a black cloak) invade Azeroth through a magical portal. One Orc, Chieftain Durotan, believes peace with the humans is the only way to prevent an unnecessary war and opposes Gul’dan. Queue much fighting and magic-ing.

There is a wonderful sense of adventure to Warcraft that is so often missing in many, grittier films of similar genre. Here, there is no over-preoccupation with creating a world that is unnecessarily realistic; Jones has embraced the true nature in the concept as a game first and foremost and instilled a sense of true fantasy that manages to remain balanced throughout. The Orcs are almost comical at times, their oversized appearance at odds with the practicality of everything around them. The dialogue is a little expositionary in places, although given the depth of lore and myth in the Warcraft universe this becomes more necessary than irritating. And few of the performances are particularly nuanced, with everyone allowing themselves to release their inner exuberance.

And, yet, instead of being weaknesses, these are the films’ strengths. Fun is the key word, and although there are some tough battle scenes and swinging of mighty weaponry, danger is kept at a distance, almost as if you could just start all over again. To keep the true believers happy there are many nods to the world of the games, from glimpses of curious creatures to the layout of the land, and their inclusion gives the film a true sense of being something tangible.

As you would expect with a film of this type, the music plays an important role and Ramin Djawadi’s pounding score adds further texture to Jones’ visuals; any fears concerning the overuse of CGI are allayed as only a truly pedantic traditionalist would question their necessity.

So, there it is. Approach this film with the same optimism and intrigue as Jones himself, and Warcraft: The Beginning will not disappoint. This is an old-fashioned adventure with themes of family and loyalty, that just happens to look like the most fantastical epic you will have seen. It is a stunning example of what can be achieved when ambition meets creativity, and should be applauded and enjoyed with the same enthusiasm with which it was made.

Sit back, open your mind and enjoy.

WARCRAFT: THE BEGINNING / CERT: 12 / DIRECTOR: DUNCAN JONES / SCREENPLAY: CHRIS LEAVITT, DUNCAN JONES / STARRING: TRAVIS FIMMEL, TOBY KEBBELL, BEN FOSTER, PAULA PATTON / RELEASE DATE: OCTOBER 10TH

Norway, the early 13th century. Civil war rages, neighbouring countries attack, and plots within the king’s own court want him dead. The church wants to take control of the country and put in place their own leader, loyal to the pope. As he dies, the king reveals he has an illegitimate son, Håkon, born in secret and kept hidden. Knowing that this heir to the throne can unravel their conspiracy, the plotters set out to have the young baby murdered. Those loyal to the king and the crown fight to ensure the future-king is kept safe.

Two warriors (Game of Thrones’ Kristofer Hivju and Jakob Oftebro, a noted Scandinavian actor from series like 1864 and Lilyhammer) are charged with protecting the boy from the half of Norway that wants him dead, no matter the cost. So begins a mix of in-fighting and scheming in the court, as the king’s two brothers Inge (Thorbjørn Harr) and the traitorous Gisle (Pål Sverre Hagen) come into conflict, and action with two men and a baby out in the snowy wilderness. They must survive being hunted and fight off attacks as those who wish to destroy the king’s bloodline seek to stop Håkon from reaching safety.

Although made in Norwegian, it clearly has an eye on international markets. Subtitles are these days no impediment to a film being a broad success and indeed it’s become something of an attraction for many people, immersing oneself in another culture and language via entertainment. Shows like the aforementioned HBO behemoth and History’s Vikings have introduced the template this film follows, and so its story of Norwegian history is no limit to drawing in viewers. It’s also serious scenery-porn, people. Norway in winter is by itself stunning, and the filmmakers take full advantage of nature’s set dressing to the extent that don’t be surprised if you finish the film practically booking your holiday out there.

The Last King isn’t going to fill any GoT-shaped hole in your life. It’s nothing especially new (though the use of skis by the warriors was something different), many characters are fairly broadly-sketched, the politics in court is of the familiar-by-now backstabbing sort, and overall the film is slight. However, The Last King might have only a small portion of the budget afforded a big series or film, but it’s confidently made and zips along quickly. It is a well-acted, well-shot, well-done film and is entertaining enough, certainly worth a rental or catching on television. But if you have a particularly special thing for the current vogue of men with big beards doing manly things, then it’s worth seeking out.

THE LAST KING / CERT: 15 / DIRECTOR: NILS GAUP / SCREENPLAY: RAVN LANESSKOG / STARRING: KRISTOFER HIVJU, JAKOB OFTEBRO, THORBJORN HARR, PAL SVERRE HAGEN / RELEASE DATE: OCTOBER 3RD

A forest fire, a rock slide, no gas, murderous Hillbillies, a creepy old mine and an old lunatic asylum. The kids of Blackburn really are not having a very good time of it, caught between a rock (slide) and several hard places. Visiting a small Alaskan town, five typically beautiful but bickering college kids find themselves on the wrong side of the locals and their geology. After a terrible CGI rock slide traps them in town (on the way to their cabin in the woods, ‘natch), they wind up taking shelter in a dilapidated old mine, chased down by the murderous monster that dwells in the shadows…

Blackburn lays out its cards early, opening with the brutal murder of the cop from Freddy vs Jason and his screaming wife. From there, it’s slasher movie business as usual, all stupid decisions and a lack of cellphone reception. By the time the awful Syfy-level CGI rock slide tumbles onto the screen, many will have given up already.

Bailing early, they won’t be missing too much. Blackburn is a typical backwoods slasher film in which each and every cliché and stereotype is well represented, from the underground mine setting (most notably Hills Have Eyes 2, from which it borrows a mildly half-assed tone) to the inevitable backwater gas station. The latter, at least, provides the film with a little variety; its twin sister station attendants giving Blackburn all of its laughs and originality, effortlessly stealing the show and all of the laughs therein.

As its sisters only occasionally feature in the story, so Blackburn is sporadically entertaining. It’s low-budget like a DTV Wrong Turn sequel (that’s all of them, then), from the action to the gloomy, uninteresting visuals. The presence of a female writer (relative newcomer Natasha Baron) ensures that it’s less grounded in sleaziness than some, but don’t expect rounded characters of either gender. Apart from the gas station sisters, who are awesome.

The film is, at least, so fast and loose with its clichés (it’s a film about a mine and a lunatic asylum) that the pace stays fast and the action relatively constant. Dingy and uninspired it may be, but it’s competently filmed and even the acting isn’t too shabby, given the typically low-rent, no-name cast (Ken Kirzinger aside). Once again, the gas station sisters steal the show.

An effective slasher, Blackburn doesn’t reinvent the wheel but has just enough bravura to keep it spinning nevertheless.

BLACKBURN / CERT: 18 / DIRECTOR: LAURO CHARTAND /SCREENPLAY: NATASHA BARON / STARRING: SARAH LIND, ZACK PELADEAU, EMILE ULLERUP, CALUM WORTHY / RELEASE DATE: OUT NOW

 

Following the release
of Pedro Almodóvar’s latest critical success Julieta,
StudioCanal are releasing a boxset of six newly restored films from the Spanish
maestro’s formative years. While his later films are decidedly more restrained
and mature, these earlier works are an intriguing insight into Almodóvar at
his most audacious and mischievous.

These
films introduce many motifs and themes which Almodóvar has continued to
explore throughout his career including strong female characters,
melodramatic plots, fluid sexuality, and a vibrant, gaudy aesthetic. However,
these earlier works implement a wilder, free-wheeling, subversive approach
which typified the sense of sexual and political freedom of their post-Franco
Spanish context.

Originally
rejected by Cannes film festival for its alleged blasphemous treatment of
Catholicism, Dark Habits (1983) is one of Almodóvar’s earliest
films as well as one of his most controversial. It follows nightclub singer
Yolanda (Cristina Sanchez Pascual) who is battling an addiction to drugs. She
finds refuge in a nunnery only to find the eccentric nuns who live within the
convent are just as crazed and unstable as she is. It’s hardly subtle in its
criticism of the Catholic Church’s influence on contemporary Spanish culture
but it does ask some important questions on the difficulty of seeking
redemption in an increasingly debauched world.

Almodóvar
lightens things up in What Have I Done to Deserve This?, a
darkly humorous, farcical delight which pays homage to Italian neo-realism
while also featuring a child with telekinetic powers! The action revolves
around the tumultuous family life of overworked housewife Gloria (Carmen Maura)
as she attempts to keep her idiosyncratic family in check. It’s a deliciously
weird ride that highlights Almodóvar’s affinity with strong female
characters and their plights.

Law of Desire (1987) marks a departure
of tone for Almodóvar – it’s a thriller and his first overtly gay film.
Focusing on homosexual film director Pablo Quintero (Eusebio Poncela) and the
dangerous love triangle he finds himself in, Law of Desire is
a gripping study of the potentially devastating effects of unrequited love. An
effectively twisty plot and a memorably tragic and touching conclusion
evidences Almodóvar’s evolving versatility.

The
most acclaimed film in this collection, and the one that earned Almodóvar
his first Academy nomination, is comedic drama Women on the Verge of a
Nervous Breakdown (1988). It’s clear to see why it’s Almodóvar’s most
celebrated in this boxset – it has the shortest running time of the six
films but achieves the most in terms of characterisation, incisiveness and
sheer entertainment. It’s a breakneck romp which sees actress Pepa (Carmen
Maura) in pieces after a break-up with her latest lover. Pepa plans to commit
suicide via some spiked gazpacho until her best friend Candela (María
Barranco) arrives with news that her ex-boyfriend is part of a Shiite
terrorist cell. Consequently, a crazy set of events are put into motion. It’s a
real roller-coaster ride with eye-catching set design, a franticly engaging
story and an abundance of absurd laughs; this is definitely one
of Almodóvar’s most accomplished works to date.

Kika (1993) represents the
low-point in this boxset. The story revolves around Kika (Veronica
Forqué) a young, naïve make-up artist who is dating a photographer named
Ramon (Àlex Casanovas) while also sleeping with his father Nicholas (Peter
Coyote). Kika’s many disparate parts never quite piece
together and it doesn’t have the likeability of his previous works as well as
having surprisingly little to say. The worst element of Kika is
the extremely misjudged rape of the titular character which is filmed in a
comic, playful manner and tarnishes the rest of the film.

The
last film in this set, The Flower of My Secret (1995), is a
return to form for Almodóvar and reflects his growing maturity as a
film-maker. The film follows Leo Macias (Marisa Paredes), a writer who pens
popular romance novels under the pseudonym of Amanda Gris. However, she is
discontented with her life, and her husband, who works as a military officer in
both Brussels and Bosnia, is becoming distant physically and emotionally. As a
result, Leo starts to explore darker themes in her writing and begins to
re-evaluate her life. Although slight, The Flower of My Secret manages
to be affecting enough, offering a perceptive look at how the everyday issues
in life slowly demoralise an individual and it’s also filled with Almodóvar’s
typical visual flair.

If
you’re a fan of Almodóvar’s more contemporary films and want to see
his most unpredictable and untamed work then you will not be disappointed by
this new collection which is accompanied by a bunch of exclusive cast and crew
interviews and introductions.

THE
ALMODOVAR COLLECTION / CERT: 18 / DIRECTOR & SCREENPLAY: PEDRO
ALMODOVAR / STARRING: CARMEN MAURA, EUESBIO PONCELA, VERONICA FORQUE / RELEASE
DATE: OUT NOW
 

Yu-Gi-Oh! 5D’s is set in the not too distant future of the Yu-Gi-Oh franchise up to that point. Kaiba Corp is mentioned, and we see brief glimpses of Duel Academy but 5D’s makes more of a clean break from Yu-Gi-Oh‘s past than GX did. The characters are all new and you won’t find cameos from familiar faces, at least not in the season we are reviewing today. 5D’s explores similar concepts to the original Yu-Gi-Oh such as mystic forces, the nature of destiny, and the power of friendship. What’s more, it manages to tackle such plot threads without them feeling as stale as they might have. 

Anime is often defined by story arcs rather than by numbered season, so while this may be listed as Season 1, viewers are getting two distinct story arcs instead of one. The first of these arcs is used to set up the principle cast and the second depicts that cast coming up against the first big bad of the show.

Yu-Gi-Oh! 5D’s does include elements we saw in Yu-Gi-Oh and GX but it improves on those elements. Yu-Gi-Oh has always talked about the idea that friendship was important but this often felt like lip service. Yu-Gi-Oh! 5D’s succeeds where Yu-Gi-Oh fails in this regard by not favouring one character over the others. Yusei is the lead character but throughout the season everyone makes a clear contribution to winning the fight of good vs. evil. Just like Yu-Gi-Oh! 5D’s has characters that are chosen to win the day but having the rest of the cast as incompetent or ineffectual doesn’t prop them up. This is a series in which you don’t need to be preordained to win in order to make a difference.

Because the show doesn’t try to keep reminding us that certain characters are special they are allowed to flourish on their own. We get time to see them develop and they make honest choices that don’t feel forced for the sake of the plot. The weak points are Yusei, who feels a bit too perfect to be a well-rounded character at times, and Ted Lewis as Jack Atlus. The veteran Yu-Gi-Oh actor attempts to play Jack with a cockney accent and you will get used to it but he does a poor job and it does stick out in early episodes.

Yu-Gi-Oh! 5D’s feels like the best version of Yu-Gi-Oh so far. The first season takes elements of the show that fans are familiar with and improves on them. No one feels superfluous, and no one is here just to make someone with pointy hair look good. The humour avoids being cheesy and the serious moments avoid melodrama. Recommended for both fans and newcomers alike.

YU-GI-OH! 5D’S / CERT: 12 / DIRECTORS: KATSUMI ONO / SCREENWRITERS: VARIOUS / STARRING: GREGORY ABBEY, CASSANDRA MORRIS, JASON GRIFFITH, TED LEWIS, ERICA SCHROEDER, MADDIE BLAUSTEIN, OLIVER WYMAN/ RELEASE DATE: OUT NOW 

For those of a certain age and viewing habits, the closing logo for any Stephen J. Cannell-created series is instantly recognisable from numerous popular shows from the 1980s. Most prominently here in the UK after The A-Team, usually shown on an early Saturday evening. However, Cannell had a very busy career that spanned nearly 40 shows across three decades, often in the crime genre and not every show is as well known. Baa Baa Black Sheep, or Black Sheep Squadron as it was later called in syndication, was one of his earlier non-crime series from the ‘70s. Based (it seems extremely loosely) on the biography of the real pilot ‘Pappy’ Boyington, the series tells the tale of, according to the opening credits, a squadron of ‘misfits and screwballs’ fighting the Japanese Imperial forces in WWII.

Opening with a double length pilot episode, we meet Pappy in debt and running out of options.  Forced to take up his old commission in the Marines, but facing bureaucracy and a dead-end desk job, Pappy engineers his way into collecting together a unit of other lost causes, hoping that being the best squadron in the South Pacific will be enough to keep them all out of the brig.

Once the situation is established we’re into story-of-the-week territory. Plots mainly follow one of three major templates: new visitors to the island somehow causes problems for the squadron, bureaucracy somehow causes problems for the squadron, or the more action-heavy episodes. As with television of the time, it’s not serialised (though it does frequently reference previous events and spend time on individual characters), with the A-story resolved by the end of each episode. It’s not concerned with realism or presenting an accurate representation of war or the men or experiences of the real Black Sheep squadron. Instead it’s firmly a war-as-adventure series, with a fair sprinkling of anti-authoritarian attitude stirred in (the M.A.S.H television series seems a likely influence, as it began airing a few years before Baa Baa Black Sheep).

Formulaic it might be, but it’s also entertaining stuff with likeable characters and plenty of aerial action. Pappy is played with huge charm by Robert Conrad, and the show is stacked with plenty of familiar faces, from Simon Oakland (Carl Kolchak’s always reliable editor), via guest stars like Sharon Gless, Charles Napier, George Takei, and even a couple of cameos from the real Greg Boyington. If you like classic war series or television of this period (if so bump up the rating below by another point), or you just fancy a well-made piece of easy going entertainment, it comes recommended.

BAA BAA BLACK SHEEP – THE COMPLETE SERIES / CERT: PG / CREATOR: STEPHEN J. CANNELL / STARRING: ROBERT CONRAD, SIMON OAKLAND, DANA ELCAR, SHARON GLESS, CHARLES NAPIER / RELEASE DATE: OUT NOW

With the fourth season of The CW’s Arrow, Stephen Amell’s Oliver Queen faces new, powerful threats both in and out of the famed hood. And as ever, Ollie is joined by a whole host of familiar faces as the stake of, not just Star City, but the world as a whole hangs in the balance.

Following the idyllic ending of Arrow’s third season, the opening to Season 4 is a refreshingly unique one for the ever-grizzled Oliver. Instead of the usual Ollie, we see one who is seemingly living out his ‘happy ever after’ alongside the love of his life, Felicity Smoak (Emily Bett Rickards). But as with any good hero who has left the tights in their rearview mirror, a new threat appears on the horizon and forces Oliver to once more pick up his trusty bow and arrow. The only thing is, with the moniker of the Arrow having been put to rest in the previous season, now it’s time for Oliver Queen to take on the moniker we’d all been waiting for. Enter, the Green Arrow.

As for the new threat in all of this, that’d be Damien Darhk (Neal McDonough), a villain who has comic book roots but who was spruced up for Arrow. Intent on world decimation, the magically-enhanced Darhk and his team of ‘Ghosts’ offer an entirely new, unrelenting threat for the Emerald Archer to deal with. Elsewhere, this season’s ‘flashback’ element sees Ollie’s past again centred around the desolate island of Lian Yu, this time with Baron Reiter (Jimmy Akingbola) proving to be the main obstacle in Oliver saving the day and getting off the island. What would Reiter’s M.O. be, you may ask? Why, he’d be desperately seeking a magical totem… which just so happens to conveniently tie-in with the ‘present day’ part of the season, where Damien Darhk relies on said totem to fuel his own powers.

Arrow’s fourth season is bit of a mixed bag, if we’re being totally honest. This particular writer will always, always, always look to see the greatness in The CW’s Stephen Amell-starrer, but there’s no denying that parts of Season 4 just fell flat, particularly the flashback parts of the season (well, bar a fantastic cameo from a chain-smoking, whiskey-drinking, paranormal-driven DC name). As for the present day element of the show, that fares much better, with McDonough’s Darhk proving to be a scene-stealer who often feels like a genuinely huge threat that is simply too much for Team Arrow to stop. It also helps that McDonough is on fantastic form, equally as charming as he is terrifying. Opposite this new foe, Stephen Amell again shows just how the Oliver Queen/Green Arrow character is like a second skin to him these days, with it now impossible to see anyone else ever picking up the bow. As for the rest of the show’s main players, they all deliver when needed, although special mention has to go to Willa Holland’s Thea Queen, with that character being given far more too sink her teeth into here, and Holland responding by giving us a far more enjoyable, intriguing, multi-layered version of Thea than we’ve seen to date. Sadly, though, and we really don’t know how to say this… but the Felicity character takes a massive hit during Season 4, unfortunately becoming far too annoying, bitchy, and just plain ‘out of character’ from what we’ve become accustomed to with this long-time fan-favourite. Out of all of Arrow‘s characters, bar the fate of a certain someone (no spoilers from us), Felicity Smoak is the one who leaves Season 4 the most damaged and in need of some desperate DIY from the writers ahead of the show’s fifth season.

Despite some of its flaws and dragged-out flashback moments, though, this most recent season of Arrow has some truly monumental moments dotted throughout it’s twenty-three-episode run; there’s new heroes and villains brought in to the fray (with a battle between Green Arrow and Falk Hentschel’s Hawkman being something that will put a grin on the face of many longtime DC fans); familiar faces get a superhero upgrade; all bets are off on just who will make it out of the season alive; and then there’s an absolutely epic and game-changing crossover adventure with The Flash.

Additionally, this release also features some vastly enjoyable bonus content, in particular the featurettes that give viewers some more background on the origins of Hawkman, Hawkgirl and Vandal Savage, not to mention getting the chance to see Stephen Amell debut his new Green Arrow outfit in the flesh at San Diego Comic-Con.

All in all, Arrow has still again yet to fully reach the highs that its second season gave us, but Season 4, whilst flawed at times, has moments of brilliance that will leave your jaw agape as the ante is upped once more for the Master Bowman and his cohorts.

Special Features: Four featurettes / Crossover event with The Flash / Unaired scenes / Gag reel

ARROW – SEASON 4 / CERT: 15 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: STEPHEN AMELL, EMILY BETT RICKARDS, NEAL MCDONOUGH, DAVID RAMSEY, WILLA HOLLAND, PAUL BLACKTHORNE KATIE CASSIDY, JOHN BARROWMAN / RELEASE DATE: OUT NOW