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‘Walk of Punishment’ is another terrific episode, but one that’s intentionally likely to leave a bad taste in the mouth, given the terrible things that happen – or nearly happen – to a lot of the characters.
With most of the ground-work for Season 3 laid down in last week’s opener, this week finds Game of Thrones on surer footing. ‘Dark Wings, Dark Words’ is a more exciting episode and a more interesting one.
After the somewhat perfunctory opening episode of Season 3, Game of Thrones is really cooking again with ‘Dark Wings, Dark Words’. Checking in with the characters absent from last week, we get a more enthralling and exciting instalment.
Ah, Westeros. It’s good to be back.
This first slice of Season 3 is primarily an establishing episode, settling some loose ends from the previous season’s epic climax, while setting up some new threads for the many characters. With so many locations, characters and plots, it’s inevitable that at certain points the show has to slow down and stage a piece-moving episode like this, but Game of Thrones still makes them hugely enjoyable.
Game of Thrones makes a triumphant, if somewhat subdued, return to UK screens tomorrow night for a third season.
While it’s a joy to be back in Westeros with the characters we’ve come to love (and love to hate), ‘Valar Dohaeris’ is very much an establishing episode. The fall-out from the great battle of Blackwater Bay continues, and everyone in the land, from Jon north of The Wall to Dany across the sea, must adjust to their new circumstances.
Sam Raimi’s The Evil Dead is a seminal piece of cinema. It’s also not especially good.
That might be a controversial opinion, but when people rave about the Evil Dead series, they often refer more to the two sequels, which were far more overtly fun and funny than the original, which was a genre defining piece, and hugely influential, but in hindsight doesn’t play quite as well itself.
A group of old codgers drinking in a pub. A questionable doctor and his coquettish nurse. A work-experience lad languishing in a stale newsroom. A young boy with a penchant for kicking pigs. These are the characters that populate the bizarre world of Kill The Beast’s new production of The Boy Who Kicked Pigs.
This is in stark contrast to David Oyelowo’s previous work – Complicit is the anti-Spooks.
It’s still not perfect, but the dialogue is becoming less clunky on the whole; the exposition less obvious.
Essentially, what we have with Gangster Squad is the gangster genre and its various clichés diluted and boiled down to their purest form.