I STILL WANT TO BELIEVE: The promising return of The X-Files...

The spoilers are out there...

After it's two night, two episode "event" comes to a close, what is left until the rest of the season unfolds is only promising.

This of course comes as no surprise to myself at the very least, as I was one to enjoy The X-Files when it was arguably at its worst, in the depths of its ninth season. However, what makes this stand out from that past series is the modernisation to the characters and the world surrounding: Mulder and Scully left in a state of disdain for one another as their relationship crumbled from their past appearance in the 2008 mixed bag "I Want to Believe", in addition to the leaps and bounds technology has made and its impact on society since then. In the realm of technology, eight years might as well be a life time.

That's what upheld my interest through the struggle that is "My Struggle", the pilot episode for the new miniseries. Whilst still enjoyable and not devoid of merit by any means, certainly better than what The X-Files can present at its worst, it suffered from its own breakneck pace. There is no brakes on this train, you're moving from plot point to plot point with almost no time to take it all in, and there's a lot to take in considering this new-found mythology has essentially scrapped everything that was established by the entire franchise thus far. Yes, it does retain some elements from the past, but it ultimately starts anew with a new mythology arc to entice a new audience that simply does not and even if they did, would not catch up on 201 episodes of TV. 

The on-off now former FBI agents are called upon when a hotshot host Tad O'Malley calls upon Mulder to investigate the government conspiracy once more with the revelation of the character Sveta, a woman who, just like Scully contains elements of alien DNA, orchestrated by who else but said government. And, just when it kicks off and Mulder makes his leap to break through and expose the truth via Mr. O'Malley, the forces that be stop them before they get the chance and Mulder goes back to square one, O'Malley nowhere to be seen and Sveta presumed abducted... again.

When I put it like that, it makes it seem like I really didn't enjoy it, but the thing is - I did. It might just be that burst of nostalgia seeing these characters interact once more, but that can't be the case for someone, such as myself, who has only just watched the series and films prior. The conspiracy, whilst at a rushed pace to compensate for less episodes and somewhat frustratingly yet understandably working from a now blank slate, is intriguing. The thing is... the next episode "Founder's Mutation" really blows it out the water. Sorry, Chris. You'll have your next shot soon.

The meat of where The X-Files has arguably always lied is in the standalone "Monster of the Week" formula episodes, but this does something clever to maintain interest in the show's overall arc: interweaving the related mythology into the case at hand. Visions of Mulder and Scully together with their estranged son William is almost heartbreaking, a bizarre contrast from the unexpected amounts of gore placed on screen throughout this episode. It also has a comedic element, whilst not the focus of the episode, is much more present than that of the past episode, with some of the aspects of the humour surprisingly below the belt. It just is a strong, solid entry from a writer/film maker that has always provided great material for the show alongside his other regulars Glen and Darin Morgan.

With the immediate correction of its course before stumbling over a still noteworthy episode, I don't see why I wouldn't continue watching the show as it airs, and so should you. X-Files fan or not, it's still worth a try.

THREE FLAVOURS CORNETTO: The World's End (2013), just one more...

THE WORLD'S END is what most people consider the weakest of the series - I'm here to disagree with that.

Why I believe this film is not the worst of the three but the best, reasons are aplenty. The complete role reversal between Simon Pegg and Nick Frost for one. In the past two entries, Pegg has been the upstanding citizen or at least the better of the two, with Frost being the self-deprecating and borderline dumbbell. This time, it's different. It's unusual seeing Pegg as the loony, and he fits into the archetype perfectly, the entirety of the film he is bursting with energy and is so pinned on his rose-tinted spectacle of the past it's heartbreaking. However, as they progress to titular pub, Frost reveals his true colours as a drunken beast of a man, albeit that isn't applicable to his initial character.

I feel also that this holds up more because it mixes the niche subject matter of Shaun of the Dead and the hilariously over-the-top, debris-filled action of Hot Fuzz to garner the best of both worlds. It learns from its predecessors and takes appropriately from them to become the most progressive film of the three. The same silky smooth camera work and direction trademarks have their place, only more refined. The cumulative experience of past work coming together at once.

As for audience reaction, upon its release, the reaction was certainly positive and a majority of critics seem to agree with me, but no one whom I know that has seen The World's End thinks it is anywhere near the best, but the worst. That I don't understand, with the only aspect of this film that I could nail down to that attribute perhaps being the plot, in its simplicity. However, that never dismayed audiences with either of the past films, as Shaun of the Dead in itself was no complex narrative.

If anything, the detail of The World's End should simply please any fan of the Wright/Pegg/Frost collaboration, an example being how each of the pubs that the cast has to crawl through to achieve The World's End not only foreshadow the plot, but the characters actions within said plot, The Old Familiar serving as quite a hearty and memorable punchline from a much more prominent, gladly, Martin Freeman. The supporting cast is arguably the strongest also, as usually a majority of the chemistry between Pegg and Frost's characters are solely with their characters, and The World's End opens that up to a whole crew, broadening the personalities on offer whilst also maintaining said tight chemistry, as if it were still between only the two.

The whole film ties up the loose trilogy very nicely, perhaps incredibly, as all of the past efforts and experience with one another culminate to create the most refined, being equally as entertaining as the past two if not more, as the loving care and homages are all still there, it just makes it so very difficult not to recommend for one who is looking for a comedy. As The World's End, Hot Fuzz and Shaun of the Dead are all must-watches for anyone who is even remotely interested in film, regardless of their preferences. It is a guaranteed good time.

A montage/recap of the best of the trilogy, obvious major spoilers ahead...

THREE FLAVOURS CORNETTO: Shaun of the Dead (2004), the first of three...

Arbitrary personal deadlines aside, over the next three days, an "extravaganza" of posts celebrating Edgar Wright's Three Flavours Cornetto trilogy will arise from my own vocabulary utilising the English language...

SHAUN OF THE DEAD prides itself on being a mix of romantic comedy and the more visceral staple of horror: zombies, and so it should.

The film that launched the trio of Edgar Wright, Simon Pegg and Nick Frost into the movie-making spotlight, it's sharp wit and wonderful homages to both genres on offer here is what keeps it relevant today, over a decade since it's release.

Pegg and Frost work and bounce dialogue off of each of so effortlessly with an endless stream of quirky jabs at each other and their surrounding environments that you could be forgiven for these characters being their actual respective persona. They serve as good company throughout the film's runtime, always welcoming what they have to say to the point where you'll be grinning hopelessly at the screen at everything, chuckling at the aforementioned punchy dialogue.

Leading onto the writing team of Wright and Pegg, the unconventional blending of comedy and horror not often seen up until that point in time is beyond refreshing. The often strict and fast pace that Shaun of the Dead handles creates this slap-happy and relentless combo that never lets up, with the surviving cast members holed up at the Winchester as quick as the outbreak starts. By no means bad, with the pace only reinforced by Wright's directorial trademarks lending to cinematography, several pans, snap zooms and dolly cams are peppered across this self-titled "rom-zom" film. 

As any self-respecting visceral zombie film, there is blood, and no shortage of it. The use of practical effects lends to the film's instinctive tone, but then with this, a man whom is attempting to gather focus in his life and revive his failing relationship. Liz first, zombies later, which comes as no surprise after learning that this film's inception came about due to Wright and Pegg, both finding that they had a mutual respect for zombies after an episode of Spaced handled a similar subject matter.

There is no words for how influential Shaun of the Dead was with it's release in the early 2000s, with the main proprietor of the zombie sub-genre George A. Romero asking Pegg and Frost to be apart of his then next film Land of the Dead... which ironically pales in comparison to this one. Whoops.