Threat Level Midnight

by Courtney Hilden

"Threat Level Midnight" was not just the title of the episode, but the title of Michael's movie, that he apparently spent eleven years on. The episode is the movie (an abbridged version, sadly) and the office watching it.

This episode is possibly the best idea the writers have had for an episode. It plays off of already established information (Michael's bad movie script from so many years ago.) One of the best parts of the episode was that it brought back multiple characters that have since left the show (mainly, Michael's ex-girlfriends, Jim's one ex-girlfriend, and that goofy friend of Michael's that no one likes.)

This episode highlights what the show does best: silly situations and Michael's huge, unreasonable ego. All of the actors did a great job acting in the various parts of the movie, perfectly playing both their characters and their character's characters. Andy totally nailed it as a bad actor playing a Jersey man. I also loved how Holly saw how Michael's goofiness, although sometimes fun, is also out of control and frequently is the most obviously immature thing about him. Michael might want to get married, but he has no idea what that would really mean, and Holly is hopefully realizing that the desire to get married does not necessarily make him compatible for her.

Honestly, I would watch a whole episode of just Michael's various movies. Jim's Goldface character was possibly the best villian of all time. Could we please have a sequel episode of Goldface's evil behavior? Please?

The Pandorica Opens

by Courtney Hilden
Spoiler Alert!: The conclusion of this episode, and the massive twist, is given away in this review.

"The Pandorica Opens" is the penultimate episode of this year's Doctor Who. The episode begins with Vincent creating a strange, unseen-by-the-audience painting that finds its way to Winston Churchill, who then tips off Dr. Song, who steals in from Liz 10. Dr. Song, using her knowledge of where the Doctor is in time, leaves him a message of the oldest of planets, Planet One, which sends the Doctor and Amy to Roman conquered-Britain, sometime after the death of Cleopatra, where they discover, indeed, that the Pandorica exists. Now they just have to figure out what's inside, why every great villain is showing up to meet it, and how to stop some unstoppable villain.

It's brilliant that they were able to wrap around various plotlines from earlier in the season to this. They also brought in Stonehenge, answering, at least for the Whovians, what's down there. What a great way of integrating Rory back into the mix as a Roman solider. (Poor Rory, not being remembered by Amy.) And the revelation at the end of the episode, that the Doctor himself was the ultimate weapon, was a great twist, though one that makes a lot of sense, given the trajectory of the last few seasons.
Also, props for bringing back the most beloved guest characters, Dr. Song and Liz 10. Too bad we didn't get to see more of Liz 10, who they should really consider for a companion.
The not so brilliant bits? Bringing the normal group of villains back, like the Daleks and the Cybermen. I've already mocked this most recent brand of Daleks by calling their leader White Chocolate Dalek. It's too bad that this show always has to use the same villains, instead of inventing new, and less grandiose, antagonists.

Night Junkies

by Courtney Hilden

Night Junkies, a small independent horror film, is about a vampire named Vincent who accidentally turns Ruby, a stripper, into one of them. Normally, this would simply mean she becomes a vampire, but in this film vampires are more like addicts (interested in blood instead of something like drugs), and Ruby vows to break her addiction with Vincent at her side.
The movie knows how silly it is, since it opens up on a discussion of vampires and how they are all about sex. Sex is actually one of the last things this movie is about, since it makes the connection between vampires and drug junkies, which is a nice change of pace from the usual stuff audiences associate with vampires. She meets a vampire, not in a club, but in a cafe. Vampire Vincent eats a muffin.
Vincent, played by Giles Alderson, is delightful creepy and slightly awkward, sniffing the air. He has this weird nostril thing that would never work on any other character but a vampire. The chemistry between him and Ruby (Katia Winters) is prefect. It's nice that these actors aren't afraid to look like crap, with Ruby's makeup and sweat mixing in that gross way that girls are all too familiar with. These actors actually do look like people who are coming off of addictions.
There are some weak parts of this movie, including the monologues of Vincent, which would be fine if it was just to introduce the movie, but it gets used too often. He also has a strange lisp that makes him sound more like a Muppet than a vampire. Also, there's no need to be listening to the Boss carry on and on about unnecessary metaphors; just get to the point. The villain of the story, one of Ruby's old pimps, wastes our time creeping around her apartment building, harassing old ladies. He's one of the least scary villains, being almost all campy, and not, sadly, in a good way. The villain even gets a monologue, one that is boring and only stalls the obvious conclusion, which is drawn out and corny in its own way. And if that weren't enough, several bits of dialogue that are meant to be funny fall utterly flat.
From such a promising beginning and such subversion of the genre, it might give you the impression that this film is worth watching all the way through. You'd be wrong. The film loses much of its momentum about mid-way. It's an interesting idea, and certain parts of the film work, but what doesn't work ruins the few successful things about it.