REVIEW: GAME OF THRONES – SEASON 4

51O0eQlv09L
MAIN CAST
Peter Dinklage (Threshold)
Nikolaj Coster-Waldau (Kingdom of Heaven)
Lena Headey (Dredd)
Emilia Clarke (Terminator:L Genysis)
Kit Harington (Pompeii)
Aidan Gillen (The Dark Knight Rises)
Charles Dance (Last Action Hero)
Natalie Dormer (The Hunger Games: Mockingjay)
Liam Cunningham (Wrath of The Titans)
Stephen Dillane (The Hours)
Carice van Houten (Black Book)
Jack Gleeson (Batman Begins)
Alfie Allen (Elizabeth)
Isaac Hempstead-Wright (The Box Trolls)
Sophie Turner (X-Men: Apocalypse)
Maisie Williams (Cyberbully)
John Bradley (Borgia)
Rose Leslie (honeymoon)
Kristofer Hivju (The Thing)
Hannah Murray (Skins)
Rory McCann (Hot Fuzz)
Gwendoline Christie (Star Wars – Episode VII)
Iwan Rheon (Misfits)
Conleth Hill (Serena)
Jerome Flynn (Ripper Street)
Sibel Kekilli (Tatort)
Iain Glen (Kick-Ass 2)
images
GUEST / RECURRING CAST
Diana Rigg (The Avengers)
Pedro Pascal (The Mentalist)
Indira Varma (Human Target)
Daniel Portman (River City)
Julian Glover (Troy)
Roger Ashton-Griffiths (A Knight’s Tale)
Anton Lesser (Charlotte gray)
Finn Jones (Wrong Turn 5)
Dean-Charles Chapman (Ripper Street)
Ian Beattie (Alexander)
Michiel Huisman (The Young Victoria)
Ian McElhinney (Hornblower)
Nathalie Emmanuel (Fast & Furious 7)
Jacob Anderson (4.3.2.1.)
Ciarán Hinds(the Woman In Black)
Thomas Sangster(Love Actually)
Ellie Kendrick (Being Human)
Kristian Nairn (Ripper Street)
Burn Gorman(The Dark Knight Rises)
Michael McElhatton (Intermission)
Peter Vaughan (Silk)
Owen Teale (Stella)
Noah Taylor (Powers)
Mark Stanley (Dickensian)
Ben Crompton (Doctor Who)
Josef Altin (The Young Victoria)
Charlotte Hope (Les Miserables)
Elizabeth Webster (Call The midwife)
Gemma Whelan (The Wolfman)
Kate Dickie (Tinsel Town)
Lino Facioli (Get Him to The Greek)
Tara Fitzgerald (Legend)
MV5BMTk0MTUwMjYxNl5BMl5BanBnXkFtZTgwNTUyNTI1MTE@._V1_SX1777_CR0,0,1777,999_AL_
Whilst nothing in Series 4 comes quite as close to the sheer jaw dropping drama of Series 3 classic episode “The Red Wedding” the Series 4 finale has a quality about it that can only be found in great films like “The Godfather II”. The drama unfolds in almost a Shakespearian fashion and whilst loose ends are tied up a myriad of questions evolve out of the pulsating script. The acting throughout deserves Grammys by the shedload not least one of the most unlikely “buddy” pairings in TV history namely Ayra Stark (the brilliant Maisie Williams) and the strangely loveable uber thug “The Hound”. The scriptwriters have also played a huge role in this series with more deviations from George R R Martins books which makes the plot and storyline sharper and more dynamic. For example that gigantic Brienne and the Hound fight never happened in the novels, but it was stellar television. The other key dimension of the series is that the multiplicity of individual story lines are now merging ever closer so the overall plot line is much clearer and the context more powerful. Despite the ritual disposal of numerous major characters in Series 4 the deep fascination of the future of existing characters like the mystic Bran, the heroic Jon Snow, the Machiavellian “Littlefinger” and the worlds most popular dwarf (Peter Dinklage) is utterly engrossing. We also have nagging doubts emerging not least is Daenerys Targaryen’s unstoppable rise now threatened by her errant dragons, and whilst the key figure of Stannis Baratheon looms large was that also an alluring smile from the sinister but sexy Melisandre, the priestess of the Lord of Light to Jon Snow? Meanwhile beyond the Wall in the frozen north the Whitewalkers are massing.

Game of Thrones has been renewed for a further two seasons and we are informed that the day after the premiere of season 4, filming started in Belfast on the next instalment.The new season is scheduled to start on TV between the end of March and mid-April 2015. Can however the programmes show runners, David Benioff and D.B. Weiss, be asked nicely by all Amazon readers to get a move on and bring this true wonder back to our screens. Indeed this reviewer could be reduced to begging. Game of Thrones – Series 4 is absolutely essential television and the best current drama on the small screen.

 

REVIEW: THE ADJUSTMENT BUREAU

CAST

Matt Damon (Jason Bourne)
Emily Blunt (Looper)
Anthony Mackie (Captain America: Civil War)
John Slattery (Iron Man 2)
Michael Kelly (Man of Steel)
Terence Stamp (Superman 2)
Donnie Keshawarz (Lost)
Anthony Ruivivar (Scream: The Series)
Jennifer Ehle (The Blacklist)
Pedro Pascal (The Great Wall)

It is the directorial debut of George Nolfi, whose previous credits include the screenplay for the much-derided (though not by this writer) Ocean’s Twelve and the third Boune movie (he co-wrote with series regular Tony Gilroy). His screenplay here is based on the Philip K. Dick story “Adjustment Team,” and as with the best of Dick’s work, it is science fiction in the best sense–keenly interested in ideas rather than ray guns. Nolfi introduces us to New York congressman David Norris (Matt Damon) in an opening montage deliberately played like a campaign ad; the smiling, handsome young Brooklyn politico is seemingly poised to float into a New York Senate seat. But Norris has a bit of an impulse problem, and a sketchy past that comes back to haunt him in the campaign’s eleventh hour. He ends up losing the race, but the night isn’t a total bust: as he’s preparing his concession speech, he meets Elise (Emily Blunt), a beautiful dancer, and the spark is immediate. She disappears, but he is inspired to give a no-nonsense takedown of politics-as-usal that becomes a viral sensation and immediately resurrects his political possibilities.But this is where it gets complicated. Due to circumstances too complicated to summarize here, Norris becomes aware that he is under the surveillance of a team of “adjusters”–dark-suited men in fedoras who occasionally step in to ensure that the lives of everyday people progress according to “the plan,” as set forth by “the chairman.” Are they angels? Is the chairman God? Perhaps; the movie is too interesting to do more than hint. What is certain is that David and Elise meeting again and falling in love is not part of “the plan,” and if David bucks the plan, there will be consequences–particularly once Thompson (aka “The Hammer”) takes over the case, and since Thompson is played by Terence Stamp, we’re inclined to believe he means business. On some level, this could all be seen as fundamentally silly. The dialogue of the adjusters, who are played as varying levels of middle managers (at one point, John Slattery’s Richardson shrugs “It’s above my pay grade”), is full of talk of getting “a briefcase” for “a reset” or even “a full recalibration,” since the “ripple effects” are too great; the adjusters also have the ability to use regular doors to portal from one part of New York to another, as long as they have on their magic fedoras. None of this should work, but it does, primarily because Nolfi basically takes the story seriously, but still maintains a sense of humor that punctures the deadly solemnity that so often sinks this kind of picture.Much of that humor is found in the terrific relationship between Damon and Blunt, who couldn’t be better together; their chemistry is wickedly good, as it must be for the story to work, and when he says “holy shit” at the end of their first scene, you can’t imagine a more appropriate response. Blunt is a perpetually underrated actress, but she puts across exactly the right combination of romantic longing and bad-girl recklessness; you don’t question for a moment that he would spend three years hoping to find her again.The supporting cast is aces (the wonderful Anthony Mackie and always-welcome David Kelly provide able support), and Nolfi’s direction is brisk, confident, and effective. He does so many things so well, all at the same time, that the film is a minor miracle (if you’ll pardon the expression)–it asks the eternal questions of free will within religious dogma, creates a genuine rooting interest in a romantic coupling, and includes an electrifying chase sequence where you actually care about the outcome. The fact that all of this not only works, but works so well, is downright thrilling