Video, Film, and Television

Fackham Hall: Learn From The Stupid

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

So I recently saw Fackham Hall. It’s a movie that was advertised as sort of “Naked Gun But For Stuffy British Stuff.” I am pleased to report I enjoyed it, it was also very stupid, and there’s actually something to learn from it. Enough that I want to share.

So first of all, if you wonder “will I like it,” I’d say that Fackham Hall is actually in the vein of the 2025 Deathstalker film that was an homage to old direct-to video fantasy. There is an intended audience, and if you are in that audience, you will enjoy it. If you are not, don’t bother. This is a film for people who’ve watched a lot of Stuffy British Stuff and have a sense of humor about it.

Now when it comes to a comedy the question is are the jokes any good? Fackham Hall has a lot of jokes in it, of extremely varied quality, but you won’t be lacking jokes. Not all of them are good, I’d say that the overall humor is “OK,” there’s plenty of laughs. There’s an over-reliance on crudity for the most part that I found offputting, but there are plenty of actually good jokes.

Two things stand out from the humor. The first is that there are jokes where the setup is actually part of the humor, where you realize how far the movie went for a joke or a sudden case where one thing suddenly becomes funny due to one tiny action. The second is there are a few scenes that authentically stand out, most notable an extended dialogue joke in the vein of “Who’s on first” that had me in tears. There is effort here, albeit it makes some of the low-effort jokes more obvious.

Fackham Hall does have two larger lessons, a minor one and a major one I want to explore. These are enough that they provide lessons for other comedies.

The minor lesson is that Fackham Hall actually has a plot that drives the story forward, if erratically. The Davenport family risks losing their beloved estate unless their daughter marries the cousin due to inherit it – and the disruption of a roguish young visitor and an eventual murder add chaos to the countdown. Some characters have their own concerns and sidestories. There’s enough here to power a general movie, and that gives the film plenty of energy, even if the actual plot could have been used more in the jokes.

The major lesson is the cast and the acting. For all it’s silliness the cast acts as seriously as if they were in a dramatic film. It’s not deadpan, it’s a talented lot of actors acting as if this is a film of drama and danger and intrigue and love. Watching people do the stupidest things with great sincerity and gravitas takes the film farther and makes even lame jokes actually funnier.

Thomasin McKenzie and Ben Radcliffe take on the role of inevitable lovers, and show actual chemistry and charm together. Emma Laird, who’s character’s marriage shenanigans drive the early part of the film has a scene of emotional breakdown where she is crying and screaming while also upending the common tropes of said scene. Tim McMullan plays Cyril, the family butler with absolute seriousness while also being the butt of a movie-long joke he leans into and keeps going.

The absolute standout is Damian Lewis as the Davenport family patriarch, Humphrey. Lewis invests this somewhat befuddled and inbred character with charm and sensitivity, making him actually likeable. There’s even a scene where he expresses his fatherly love to one of his daughters that is touching. Jokes be damned, Lewis was acting and nothing stopped him, not even the script.

What made Fackham Hall work was – ironically – what makes a good movie. Give it a plot and get actors who will act. It can even elevate some poor jokes or missed opportunities. I enjoyed this enough that I actually got curious to see the actors in other works, especially Mr. Lewis.

It’s not every day you can take lessons in comedy from a film that includes J.R.R. Tolkien farting, but here you go. My kudos to the cast.

Steven Savage

Superman 2025: Take All The Swings

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

(Yep, I’m taking a break from talking about technology to talk about culture, which I probably should do more . . .)

Superman 2025 was something I wasn’t enthused about, since I’m sort of tired of superhero blockbusters. Then I saw the commercials with Krypto the Superdog and had to admit I was going to see it because that was pretty bold. Superman, whatever it would be, clearly wasn’t as ground through the marketing mill as many of the recent Marvel movies. Again, dog in a cape.

And after seeing Superman I am pleased to say it is not only good, it is one of the most, if not the most comic book movie I’ve seen. It is, much like it’s titular main character, absolutely honest about what it is, without shame or irony – but also without apology. Superman is about a man who’s just trying to be a good guy, and it’s a film trying to be a good comic book movie.

The film opens both in media res but in universe res, with a quick text intro that manages to recap the setting in a few sentences then Superman shows up with the stakes already high. It tells you to hold on to your seats, because the film isn’t really going to hold your hand but just dive right in and keep going. This means we are spared the inevitable origin story, and the film also trusts you to pick up the details even if you’re not deep into comics lore (and there’s just enough the uninformed can get most of it).

And the comics elements come thick and fast and never let up. The movie takes a lot of swings with DC continuity, and the various characters and elements of the world keep coming until over halfway into the film. The film doesn’t hit out of the park every time, to continue the swing metaphor, but it doesn’t miss anything either. Some elements of this huge comic book movie work better or are done better than others, but nothing fails – and when the story connects it connects.

There is a lot. There are multiple superheroes. There is a kaiju. There is politics. There is romance. There are twists. There are robots. There is, once again, a superpowered dog. There’s also a lot that may seem painfully timely, but some of it is only timely because we have to keep relearning certain lessons.

This alchemical mix of comic book elements could not have worked without an absolutely stellar cast. Every single member of the cast is on, handling their roles with sincerity and enthusiasm and that sells all the dense elements of the movie. David Corenswet totally steps into the role of Superman/Clark Kent, he lives it. Rachel Brosnan’s Lois Lane is strong, passionate, undaunted, and there’s a bit of her backstory that she brings to life (no spoilers). Nicholas Hoult’s Lex Luthor glowers and chews scenery as a charismatic utter a-hole. Edi Gathegi as Mister Terrific is so good that he’s a man playing the protagonist in another protagonist’s movies. I could go on, but they’re all good.

Wait, I have to shout out Neva Howell and Pruitt Taylor Vince and the Kents, who are one of the most believable takes on the couple I’ve seen. One moment they’re funny, the other they’re deep, and in all cases they’re parents. OK I’m done.

Superman 2025 has the right people to pull off all of the wild elements it tries to incorporate, and that’s why it does it successfully, if not perfectly. The film can be slightly uneven, because comic books themselves can swing between the fantastic and the mundane, but it never loses balance. Like a juggler, it keeps a lot in the air, motion itself being fuel for the spectacle.

I am still tired of big superhero blockbusters and huge big-budget movies dominating culture. But Superman felt so honest, so sincere, it was a breath of fresh air. It was a vision of Superman that felt true to the character and the ideas behind him, and it’s worth seeing – and learning from.

Get the right people, take the swing, do the right thing.

Steven Savage

The Capstone of Star Trek

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

I haven’t been interested in anything Star Trek in years. I mean, we’re kinda Voyager here. Yes I’ve heard great things about Discovery, I can appreciate the ideas behind Strange New Worlds retro-forward work. It’s just that I’m tired of Star Trek despite the fact that like many a geek, it was formative in my life.

But now Trek seems over-saturated and overdone. I mean it’s not Star Wars level and definitely not Marvel, but you know, haven’t we kind have done all of this? Do we have to keep rehashing things? What the hell is up with the various Spock plots and time travel? Can’t we, I dunno, move on for awhile?

So you’d think I’d be incredibility indifferent to the animated Trek dramedy, Lower Decks. I mean I even tried to get into it twice, and though I appreciated it, the show just didn’t do it for me. Well, didn’t do anything until a friend got into it, and I gave it one more spin.

Then I was hooked. On a Star Trek show.

If you’re not familiar with Lower Decks – and maybe you are, it’s fine – it’s an animated half hour show set in “recent” Star Trek continuity, the 24th century of the imagined future. The show doesn’t involve glamorous front-line flagships, but the Cerritos, a class of starship used for support, transport, “second contact” and less spectacular activities. The story also focuses on four friends who are “Lower Deckers,” relatively new spacefarers of low rank stuck with uninteresting and menial tasks, even if those drag them into adventures.

It’s Star Trek from the bottom up, but it doesn’t stop there.

The show is steeped in Trek lore, sometimes carrying concepts and even entire past episodes to their logical-if-ridiculous conclusions. People are used to strange energies evolving others into insane gods or temporarily switching bodies. First contact with aliens has to be followed up by someone doing the real work of shuffling around annoying diplomats and hooking planets up to communications network. For that matter, what do you do with all those monomaniacal computers endlessly plaguing alien civilizations – oh and has anyone checked up on those societies lately?

It’s every Trek trope and plenty of obscure lore falling on capable-if-neurotic shoulders of the Lower Deckers and the Cerritos crew. In many ways it’s akin to the Venture Brothers, which seemed to be a parody of cartoons, but was more of a heartfelt homage. Lower Decks just operates with a more defined property, the entire Star Trek janky extended universe.

It’s probably the most Star Trek of any Star Trek if you get my drift. I enjoy it because it’s not just another Star Trek show but an extrapolation by some talented writers.. The decades of continuity sort of roll downhill to the back-of-the-line Cerritos and the Lower Deckers.

It’s a kind of capstone for Star Trek, summing so much if it up in a way both funny and sometimes touching.

However, when it is done, I also can’t see Star Trek interesting me again. Lower Decks really does feel like a capstone, that there’s nothing more to do beyond this. Maybe that’s why the fact there’s even a Lower Decks RPG resonated with me – it feels like Trek has been done so often it’s best in everyone’s hands.

Thus I approach Lower Decks with a kind of bitersweet sadness. I’ve got the same Trek rush I got with TOS and Net Gen – but also it’s the end of that as well. I also know people will try to keep Trek going as its an institution – I just won’t be interested.

But I’m glad to have Lower Decks as a way to rediscover and close out a love of Star Trek.

Steven Savage