"Take a hammer, Emily," he said. "Take a hammer and smash everything shiny."

The Avengers

6.11: All Done with Mirrors

One I rated much more highly prior to this revisit, Leigh Vance’s teleplay for All Done with Mirrors (he’d later pen the screenplay for mid-70s Michael Caine thriller The Black Windmill) nevertheless has some appealing conceits, while Ray Austin (who would also helm half a dozen New Avengers) offers some memorable visuals.

As the title suggest, the plot revolves around reflective surfaces. They’re employed in a “retrometer” as a means for eavesdropping on and communicating with subjects in line of sight, sound being projected along a beam of light, with all the covert possibilities that suggests. What with the villains’ headquarters being a lighthouse, and being surrounding cliffs, the device makes for an effective means of luring nosy types to their doom (including Tara at one point, who survives a plunge to her death with “They pushed me clear of the rocks” – it must have been atremendouspush to have got that far clear). Although, this appears to work in a variety of locations, as per the teaser where ministry man Roger (John Bown) is gunned down in a wood. Dr Seligman (Anthony Dutton, 5.18: Return of the Cybernauts) is also later lured to the woods and dispatched.

Steed: I’m innocent! Entirely innocent!
Mother: Yes, but for how long?

This one’s a Tara single-hander, with Steed under house arrest because secrets are leaking from an institute he is investigating (really because Macnee was taking a holiday). As a consequence, he’s required to hang out with Mother and some bathing-suited belles (including the first appearance of Rhonda, in production terms, which is why she gives Steed an unaccustomed smile). Accordingly, it’s one of Tara’s best showings, since she doesn’t get knocked out or require saving by Steed; he arrives a bit too late to save the day (“Never mind, it’s the thought that counts”). As well as proving handy in the various fights (including the shocking ginger of bowler-hatted pro-wrestler Bruno Elrington), she also looks very becoming in her beret ensemble.

Colonel Withers: Spartan! Amazonian!
Tara: Beg your pardon?
Colonel Withers: Not even out of breath. I like that. Physical fitness. I like that too.

While All Done with Mirrors is big on mystery and set pieces, it’s ultimately a little dry for my tastes, despite a fight during which a villain falls down the lighthouse stairs – all 365 of them. Michael Trubshawe (4.4: Dial a Deadly Number) makes an impression as (the fake) Colonel Withers, impressed that Tara isn’t even out of breath after climbing said stairs and unresponsive to her querying if he’s seen anything, since he has no reason to look at the land ("And what do you see? The sea. That's what you see. The great, grand rolling ocean").

There’s some lovely location filming (done in April), though, and appealingly creative visual touches, such as astronomer Guthrie (Desmond Jordan) losing his glasses on the cliff edge. The supporting cast are solid, but most of the characters fail to come alive. Tara’s given a nominal sidekick in the stuffy Watney (Dinsdale Landen, The Curse of Fenric, suggesting he was never very suave, even in his early 30s).

Barlow (Edwin Richfield in his final appearance in the show, previously showing up in 1.6: Girl on a Trapeze, 2.9: The Removal Men, 3.17: The White Elephant, 4.6: Too Many Christmas Trees, and 5.19: Dead Man’s Treasure) is the ring leader, an impostor stealing secrets from the research institute. Also present are head of security Major Sparshott (Peter Copley, 2.21: The White Dwarf), Pandora (Joanna Vogel, 5.9: The Correct Way to Kill), who notes something is iffy as she’d made arrangements with the real colonel, and is forced to lure Tara to her death, and Carswell (Tennial Evans, 1.11: Please Don’t Feed the Animals, 2.14: The Big Thinker, 3.4: The Golden Fleece).

Steed: I always say the simplest pleasures in life are the most enjoyable.

The coda has Steed serving Tara dinner in a field of buttercups – very idyllic and summery looking – including a fillet steak he’s been cooking in the Rolls’ engine. A solid episode, and I can see why it’s generally acclaimed as one of the best Tara King episodes, but for me it lacks that necessary extra flavour.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

You were this amazing occidental samurai.

Ricochet (1991) (SPOILERS) You have to wonder at Denzel Washington’s agent at this point in the actor’s career. He’d recently won his first Oscar for Glory , yet followed it with less-than-glorious heart-transplant ghost comedy Heart Condition (Bob Hoskins’ racist cop receives Washington’s dead lawyer’s ticker; a recipe for hijinks!) Not long after, he dipped his tentative toe in the action arena with this Joel Silver production; Denzel has made his share of action fare since, of course, most of it serviceable if unremarkable, but none of it comes near to delivering the schlocky excesses of Ricochet , a movie at once ingenious and risible in its plot permutations, performances and production profligacy.

People still talk about Pandapocalypse 2002.

Turning Red (2022) (SPOILERS) Those wags at Pixar, eh? Yes, the most – actually, the only – impressive thing about Turning Red is the four-tiered wordplay of its title. Thirteen-year-old Mei (Rosalie Chiang) finds herself turning into a large red panda at emotive moments. She is also, simultaneously, riding the crimson wave for the first time. Further, as a teenager, she characteristically suffers from acute embarrassment (mostly due to the actions of her domineering mother Ming Lee, voiced by Sandra Oh). And finally, of course, Turning Red can be seen diligently spreading communist doctrine left, right and centre. To any political sensibility tuning in to Disney+, basically (so ones with either considerable or zero resistance to woke). Take a guess which of these isn’t getting press in reference to the movie? And by a process of elimination is probably what it it’s really about (you know in the same way most Pixars, as far back as Toy Story and Monsters, Inc . can be given an insi

No one can be told what the Matrix is. You have to see it for yourself.

The Matrix (1999) (SPOILERS) Twenty years on, and the articles are on the defining nature of The Matrix are piling up, most of them touching on how its world has become a reality, or maybe always was one. At the time, its premise was engaging enough, but it was the sum total of the package that cast a spell – the bullet time, the fashions, the soundtrack, the comic book-as-live-action framing and styling – not to mention it being probably the first movie to embrace and reflect the burgeoning Internet ( Hackers doesn’t really count), and subsequently to really ride the crest of the DVD boom wave. And now? Now it’s still really, really good.

I can’t be the worst. What about that hotdog one?

Everything Everywhere All at Once (2022) (SPOILERS) It would have been a merciful release, had the title card “ The End ”, flashing on screen a little before the ninety-minute mark, not been a false dawn. True, I would still have been unable to swab the bloody dildoes fight from my mind, but at least Everything Everywhere All at Once would have been short. Indeed, by the actual end I was put in mind of a line spoken by co-star James Wong in one of his most indelible roles: “ Now this really pisses me off to no end ”. Or to put it another way, Everything Everywhere All at Once rubbed me up the wrong which way quite a lot of most of the time.

We’ve got the best ball and chain in the world. Your ass.

Wedlock (1991) (SPOILERS) The futuristic prison movie seemed possessed of a particular cachet around this time, quite possibly sparked by the grisly possibilities of hi-tech disincentives to escape. On that front, HBO TV movie Wedlock more than delivers its FX money shot. Elsewhere, it’s less sure of itself, rather fumbling when it exchanges prison tropes for fugitives-on-the-run ones.

We could be mauled to death by an interstellar monster!

Star Trek Beyond (2016) (SPOILERS) The odd/even Star Trek failure/success rule seemed to have been cancelled out with the first reboot movie, and then trodden into ground with Into Darkness (which, yes, I quite enjoyed, for all its scandalous deficiencies). Star Trek Beyond gets us back onto more familiar ground, as it’s very identifiably a “lesser” Trek , irrespective of the big bucks and directorial nous thrown at it. This is a Star Trek movie that can happily stand shoulder to shoulder with The Search for Spock and Insurrection , content in the knowledge they make it look good.

He's not in my pyjamas, is he?

Bob & Carol & Ted & Alice (1969) (SPOILERS) By rights, Paul Mazursky’s swinging, post-flower-power-gen partner-swap movie ought to have aged terribly. So much of the era’s scene-specific fare has, particularly so when attempting to reflect its reverberations with any degree of serious intent. Perhaps it’s because Mazursky and co-writer Larry Tucker (also of The Monkees , Alex in Wonderland and I Love You, Alice B. Toklas! ) maintain a wry distance from their characters’ endeavours, much more on the wavelength of Elliott Gould’s Ted than Robert Culp’s Bob; we know any pretensions towards uninhibited expression can’t end well, but we also know Bob & Carol & Ted & Alice have to learn the hard way.

I think World War II was my favourite war.

Small Soldiers (1998) An off-peak Joe Dante movie is still one chock-a-block full of satirical nuggets and comic inspiration, far beyond the facility of most filmmakers. Small Soldiers finds him back after a six-year big screen absence, taking delirious swipes at the veneration of the military, war movies, the toy industry, conglomerates and privatised defence forces. Dante’s take is so gleefully skewed, he even has big business win! The only problem with the picture (aside from an indistinct lead, surprising from a director with a strong track record for casting juveniles) is that this is all very familiar. Dante acknowledged Small Soldiers was basically a riff on Gremlins , and it is. Something innocuous and playful turns mad, bad and dangerous. On one level it has something in common with Gremlins 2: The New Batch , in that the asides carry the picture. But Gremlins 2 was all about the asides, happy to wander off in any direction that suited it oblivious to whet

He’ll regret it to his dying day, if ever he lives that long.

The Quiet Man (1952) (SPOILERS) The John Wayne & John Ford film for those who don’t like John Wayne & John Ford films? The Quiet Man takes its cues from Ford’s earlier How Green Was My Valley in terms of, well less Anglophile and Hibernophile and Cambrophile nostalgia respectively for past times, climes and heritage, as Wayne’s pugilist returns to his family seat and stirs up a hot bed of emotions, not least with Maureen O’Hara’s red-headed hothead. The result is a very likeable movie, for all its inculcated Oirishness and studied eccentricity.

So, you’re telling me that NASA is going to kill the President of the United States with an earthquake?

Conspiracy Theory (1997) (SPOILERS) Mel Gibson’s official rehabilitation occurred with the announcement of 2016’s Oscar nominations, when Hacksaw Ridge garnered six nods, including Mel as director. Obviously, many refuse to be persuaded that there’s any legitimate atonement for the things someone says. They probably weren’t even convinced by Mel’s appearance in Daddy’s Home 2 , an act of abject obeisance if ever there was one. In other circles, though, Gibbo, or Mad Mel, is venerated as a saviour unsullied by the depraved Hollywood machine, one of the brave few who would not allow them to take his freedom. Or at least, his values. Of course, that’s frequently based on alleged comments he made, ones it’s highly likely he didn’t. But doesn’t that rather appeal to the premise of his 23-year-old star vehicle Conspiracy Theory , in which “ A good conspiracy theory is an unproveable one ”?

Now In Full Color, with a Happier Ending

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