input: I was blown away by the re-imagined Battlestar Galactica, a show that always kept me guessing and brought me to tears on more than one occasion. A hardened sci-fi fan, I like to think I can pick out the good stuff from the BS, and this was good stuff.

As such, when I first heard about the prospect of a prequel series some months ago I got a sick feeling in my gut. I was afraid that the formula that made Battlestar so successful would be reused in Caprica, which wouldn't work at all. BSG's story, of a mournful ragged band of survivors, trapped aboard decaying star ships and guided by prophetic vision and a sequence of pseudo-miracles, was perfectly complimented by extraordinary music and a better cast of actors.

Caprica feels different. Where BSG takes place after the fall of a great civilization, Caprica portrays that civilization in it's cold and decadent heyday. The overall vibe I got from Caprica was similar to that of Minority Report, minus excessive and counterproductive theatricality. In true BSG form, Caprica has in it's first few hours of programming already tackled the issues of religious freedom, racism, the morality of playing God and the nature of the human soul.

The casting for Caprica is also excellent. Each character is unique and deep, from the obsessive and distant scientist-turned-entrepreneur, to his troubled and willful daughter, each actor and actress throws themselves into their respective roles.

Music, which was used so powerfully in BSG, also plays a significant role in Caprica. Battlestar's powerful rolling drums and mournful duduks served it's themes very well. Caprica uses a more orchestral sound, which gives the show it's own feeling quite distinct from either of it's predecessors.

The new Caprica is definitely it's own show, pulling from the Battlestar franchise only as much as it needs. I look forward to the full series.

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pos/neg ans: positive

input: In the ten years since Wildside aired, nothing has really come close to its quality in local production. This includes the two series of the enjoyable but overrated Underbelly, which have brought to life events in the recent criminal history of both Sydney and Melbourne. The miniseries Blue Murder (which also starred Tony Martin, but as someone on the other side of the law) may be the exception.

Wildside is currently being repeated late at night on the ABC. Having not watched the show in quite a while, I'm still impressed by its uncompromising story lines and very human characters. The cast is excellent: Tony Martin as a detective haunted by the disappearance of his son, Rachael Blake (who later hooked up with Martin in real life) as a community worker struggling with alcoholism, and Alex Dimitriades as a young cop whose vice is gambling. Equally good support roles are provided by Aaron Pederson, Jessica Napier, Mary Coustas (yes, Effie herself), and a young Abbie Cornish.

The ABC inexplicably released only the first three episodes on DVD a couple of years ago. The logic of this sort of marketing is beyond me, but I'm guessing it may have something to do with licensing disagreements with the original producers.

A great series which has aged remarkably well. Here's hoping the ABC's DVD department gets its act together.

(According to a moderator on an ABC message board, some sort of further DVD release is due in December 2009)

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input: "The Luzhin Defence" is, in the foreground, a story of an idiosyncratic chess savant (Turturro) who becomes consumed by the game and, in the background via flashbacks, his boyhood life and the forces which created the man he has become. Factor in good and evil in the forms of his his love interest (Watson) and former "mentor" (Wilson) respectively and you have a plaintive drama laced with poignant and delicately humorous moments mingled with the rich scenic beauty of Italy's Lake Como and the intensity of high chess play. An excellent film for those into period dramas, the auteur's euphemistic chess play metaphor for orgasmic delight is an indication of the subtle wit behind the film.

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pos/neg ans: positive

input: This film is absolutely stunning. A new Blade Runner - future noir at it's most gritty. The vision of Paris is superb, both recognisable and visionary, with sweeping vistas, grungy set pieces and futuristic virtual reality.

The story line is quite simple, with few surprises, but that's not what I like most about the film. It is a visual treat.

Done in 3D and rendered in black and white (no greys!) with only one short spot of colour, it is less hard on the eyes than it sounds. There are many "arty" camera shots - closeups and odd viewpoints - but that just adds to the temperament of the film. Overall you get the impression of a graphic novel in footage form.

I was initially under the impression that the film had been rotoscoped, such was the level of animation and high detail in the character's facial expressions. But unlike "A Scanner Darkly" - which suffers from (or indeed is enhanced by) inconsistent character definition (just watch the way some of the hair changes shape!) - Renaissance is consistent and precise throughout. When the character is in close-up, added details and texture can bee seen, but when in mid-shot or further away details are omitted, but not to the detriment of character definition.

For me, the only down side of the film is that in one commentary we are told that this is a one-off project. Such a shame, as I would like to see more of this futuristic film-noir storyline and especially in this cutting-edge graphic style.

Oh, and the English dub is great too.

All in all a great film and highly recommended.

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positive