I finally went to see Star Wars: The Last Jedi this week after waiting it out and trying very hard to avoid internet spoilers. My patience was rewarded (of sorts) as I went to see it outside of peak hours at the local Guildford Odeon.
Using my Odeon Limitless pass to book the showing was one of the most difficult things I’ve experienced so far during the time I’ve had the subscription. I wanted to go to an earlier showing, but for some reason, the Odeon’s website was playing up. I wasn’t able to book the same slot again, or the later slot. For some reason, Odeon’s website locked off all uses of the Limitless cad and refused to let me use it.
As the Odeon is now very heavily reliant on the website for bookings, the availability of customer service via telephone is rather limited (9am – 4pm Monday – Thursday, 9am – 5pm Friday at all other times). I was booking this on Friday evening.
What really got my goat was that Odeon does not publish email addresses. Internet standards are ignored – an email to [email protected] bounced. This is extremely bad practice, Odeon. Let me, as a customer, choose how to contact you. Web forms aren’t always appropriate.
I had to wait until the following morning to call and try and sort this out – and even then, not much could be done. The system enabled me to book for the later Monday performance, but there wasn’t confirmation that credit I used from an Odeon Gift card to upgrade seating would be refunded immediately.
I popped along to the Odeon on Monday and found this:
As I didn’t use a debit or credit card for this booking, I usually pick up tickets at the Box Office. So I had to go to the confectionary counter to figure out what was going on. I was told that the ATM machines can dispense tickets with a booking reference, but it’s not entirely obvious from the choices on display:
Perhaps Odeon needs to reword that third option – just say that if you have a booking reference, you can pick up tickets using that rather than implying it may only be for Tesco and Business Voucher holders.
The third complaint was that it appears Odeon do not sell Butterkist Toffee Popcorn. I’m not a fan of the sweet or regular flavoured stuff served in buckets the size of my head. In the end, I chose Aero mint balls and the smallest Coke Zero at the extortionate price of £6.68. I’ll pay it, however, because I do like the Odeon and would still like to see cinemas remain in business. But if I had a family, kids and all, this would definitely bankrupt me if we visited regularly.
As for the film? It was alright. I think the sooner the main franchise moves away from the Skywalkers, the better.
Still happy with the phone. Does what it says on the tin. The beauty of it is that when paired with an EE contract, you’re getting a good all-rounder.
In many areas I’ve visited, I often get between 40Mbs – 100Mbs 4G connectivity. When connected to Wi-Fi the device switches to Wi-Fi Calling which is a significant battery saver (unlike Three’s implementation of Wi-Fi calling which will only kick in if there is insufficient cellular strength). Plus there is the new higher quality HD voice calling – available only through EE at this time. Haven’t had a chance to give that a go as yet since it requires the other person to also have another iPhone 8 (or better). Plus EE fully supports Visual Voicemail too.
I had a chance to give the free inclusive London Underground calling function which kicked in automatically as soon as I got to the platform at Waterloo’s Bakerloo line station. Wi-Fi just kicked in automatically – no need to configure or select the Wi-Fi hotspot – It Just Works(tm). Really handy.
The quality of the camera is something I’m still undecided on. Yes, it is better than the iPhone 7 Plus, but many photos are still very “painting-like” in comparison to say, the Galaxy Note 8 or the forthcoming Google Pixel 2 XL. I’ve enclosed a small sample of unedited photos, shot in the new HEIC format and exported to JPEG.
(Click any of the following photos to get full-size image – but a reminder – all these photos are copyright and I have all rights reserved on them – if you want to use them, please get in touch first)
The video quality looks okay, but I’ve found that with the release of MacOS High Sierra, Photos does not automatically import videos. If I AirDrop a video to my Mac, it inexplicitly saves it as H.264 – especially odd as one can only shoot in HEVC at 4K 60fps. I’m hoping that whatever is causing the block in automatic video importing via Photos/Photostream will be fixed in an iOS or MacOS update shortly. I will say I am particularly disappointed in Apple for not releasing an update to Final Cut Pro X to enable HEVC before or after iOS 11/iPhone 8 was released.
Battery life is good – especially if the phone is using Wi-Fi Calling – and having bought a Belkin induction charger, I just plonk it on the charging pad each evening that sits just under my monitor. And I can continue to use the phone while it’s charging – and just pick it up without entangling myself in wires.
Oh, and EE’s 6 months free Apple Music and streaming data is good. One has to make sure that if you have let your direct-with-Apple Apple Music subscription expire, after applying the EE offer, you’ll need to log out of iCloud Music Library and log back in otherwise weird stuff will happen within your desktop iTunes application.
Apple Watch Series 3 with Cellular (LTE)
Very happy with the new series 3 watch. It’s faster than its predecessor (app switching and general app usage is now usable!), has more storage, and the new cellular capability means that I can make and receive phone calls in the toilet(!) or on the way to the local supermarket to pick up lunch whilst leaving my phone at my desk. Yes, the watch is still tethered to one’s iPhone, but it gives the watch a much bigger range away from it. One problem I’ve noticed is that whenever I enter and leave the Wimbledon branch of Sainsbury’s, I always set the alarm off. It can’t be the watch, surely?
Apple TV 4K
As a 4K/UHD owner, getting access to 4K content can be a little tricky. So Apple’s foray into the 4K space was always going to be welcome. Especially the free upgrade to 4K streaming of existing iTunes Movie library content.
The first thing I noticed was that ALL video had significant motion blurring. This was because my LG 4K TV has a number of picture “enhancements” that I had to find and turn off. I’ve had the TV for over two years and I hadn’t even noticed them buried within the myriad of options. But turning them off – including disabling 4K upscaling on my amplifier/HDMI switch – did the trick.
I don’t have HDR, so the video output from the Apple TV 4K is always 4K SDR. And with the TV’s motion enhancements out the way, the picture quality is excellent to the point I’m using the Apple TV’s Netflix app as my default, along with NOW TV (whose app is now looking a little decrepit now and isn’t near as useful as that on the LG TV, but Apple TV’s performance is far better) and BBC iPlayer. Like NOW TV, the BBC iPlayer too is looking a little long in the tooth and really should get an interface update to make it more like other platforms. That said, Apple probably enforces UI policies on these things, so there’s that.
Are 4K iTunes movies worth it? The answer is: yes. They do look better to my eye than HD. I do not care about HDR. My TV doesn’t support it and even if it did, given the age, it probably wouldn’t support the right type.
I’ve relegated my forth generation Apple TV to the bedroom which is ruddy useful as I can pick up where I left off upstairs or downstairs – whenever or wherever I feel the most comfortable at the time.
MacOS High Sierra
It’s okay-ish, but shutting down the 2017 MacBook Pro attached to the LG UltraFine 4K monitor results in the monitor showing a cyan screen every time. Automatic Time Machine backups are rather spurious – I have to untick and tick the automatic backup flag to get it to work, only for the backup to complete and the Time Machine Systems Preferences panel telling me the next backup will only happen when the disk is next connected. It’s almost always connected! Then there is the issue of Photos and iCloud Photo Library’s Photostream. Not all photos transferred automatically from the phone, and absolutely no videos transfer. I have to AirDrop them and import. And using AirDrop to High Sierra does not result in HEVC video files for some bizarre reason!
High Sierra is not Apple’s finest moment, I have to say.
With news that iTunes’ share of video sales and rentals are falling against competitors such as Amazon (Prime) Video and other services, I’d like to take a moment to reflect on why iTunes is the better platform for buying movies digitally, despite my brain screaming at me, “Look what happened to the digital BBC Store.”
iTunes offers iTunes Extras of which an increasing number of titles are including the same features as physical media. Audio commentaries are regularly included, for example. No other service offers this.
iTunes has one of the best device allowances of any service – and this includes the ability to download the content to a Mac, Windows PC, iPad and/or iPhone.
The UI of iTunes is much better than that of the competitors. The Apple TV, not so much, but still considerably better than most. Therefore it’s easier to manage existing titles. And in all the years I’ve been buying movies from iTunes, I’ve never lost a single title due to film studios deciding to withdraw from the platform. This could change, of course, but I’m sure if that happened, consumers would be lining up to lynch whoever decided it was a good idea to do so.
In terms of renting, Amazon (Prime) Video very narrowly outshines iTunes. There’s almost always a promotion which allows me to pay far less for renting an HD title via Amazon (Prime) Video than iTunes. For example, I’ve just rented Hidden Figures (*superb* film) and T2: Trainspotting (also very good) – both in HD – £2.49 for both titles. Amazon Video is baked into my LG television, making it very easy to access.
Don’t get me started on the UltraViolet digital platform. It’s a completely useless pile of sputum devised by the film studios to make them look kind and generous by providing a non-physical digital copy of a film. The truth is that it’s a massive pain in the arse to manage and I don’t bother with it anymore. TalkTalk’s app (TalkTalk having bought Blinkbox which in turn is an UltraViolet partner) for LG televisions is awful. I accept that one has to log in again occasionally, but the process is just stupid. Look at what Google is doing for logging in to YouTube – much, much easier for televisions. Entering a password via a remote control is the epitome of piss-poor user interface design. But TalkTalk isn’t the only one guilty of this crime (NOW TV, Amazon, and even Netflix are guilty – but their TV apps allow for significantly long log in times).
BTW, I also hate the Amazon Prime Video UI too – it makes discovery difficult and it seems so random that I rarely watch anything on the service other than the really big TV productions. I watched the German comedy, Toni Erdmann the other day (very, very funny – especially the nude party scene), but I had to manually enable the subtitles (found under CC for closed captioning – usually referencing subtitles for the hard of hearing – in my case, hard of not knowing enough German to understand the film without English subtitles).
The only other service I’ve purchased films from is Google Play. I can watch the films on a tablet, my phone and even my TV through the YouTube app. But those titles are generally either freebies or were heavily discounted.
Otherwise, I’ll be sticking with iTunes for future film purchases. The next one, in fact, will probably be Hidden Figures because it was just such a great film, and there’s an audio commentary included in iTunes Extras which should give the film even more value.
My biggest fear with buying digital only copies of films and television shows is if the provider goes away – whether it’s due to bankruptcy, change of direction – whatever. As I’ve been sticking with the iTunes ecosystem for the majority of the time, I trust Apple to do the right thing and ensure I am able to download and watch my movies regardless of whatever happens to the movie or TV studio that supplied them with the content. So far so good.
But, alas, the poor old BBC has announced that it’ll be shutting down its all digital BBC Store from 1st November 2017. I’ve used BBC Store a number of times over the past 18 months, amassing a few titles here and there. It was relatively cheap, and they often had many titles on sale. My biggest complaint with the BBC Store, however, is actually watching the titles on my TV. What a pain in the arse that was. The BBC iPlayer baked into my LG TV, Apple TV, plus the games consoles I used to have, never supported BBC Store titles. And there was no native BBC Store app for them either. Thus I had to buy a Google Chromecast to be able to cast the content from my mobile phone to it. No problem watching the content on my phone or tablet, but it’s not ideal – and this is why I think the BBC has failed – it felt as if it didn’t put enough resources into developing the BBC iPlayer integration or BBC Store apps across multiple platforms.
(Ironically, as the mega corporate AT&T is set to buy Time Warner, Inc. and take over HBO – AT&T’s boss has been semi-joking that he wants to provide 20 minute mobile friendly episodes of Game of Thrones – this sort of thing horrifies me – I’m all about choice, but the important thing is that television is television and should be viewed as (and on) such)
Another problem with BBC Store is that many of BBC’s titles are available on the likes of Netflix and Amazon Prime. The BBC has said that it wasn’t able to compete with these services, but I still say they just did not put enough effort or resources into making the content available across platforms as easily as Netflix or Amazon Prime (which, BTW, should be coming to Apple TV next month if rumours are true).
Ultimately it’s a slap in the face for digital TV and movie consumption. But I also ask: is TV and film going the same way as music? Do people actually prefer to pay a monthly subscription fee to consume as much content as possible, rather than simply buy a title outright? While the BBC is refunding those of us for the content we’ve paid for (plus, very ironically, a £20 Amazon voucher for similar digital content), it doesn’t make it easy for us to be able to repurchase the content elsewhere. With content providers bemoaning that piracy is ruining the entertainment industry – it forgets very easily that if more effort was made to make the content available quickly and cheaply, and across as many platforms as possible, their rhetoric might be a bit more believable!
In lieu of a lunch date last week (unfortunately my companion was not able to make it), I took myself to the cinema. Despite not getting much use of the Odeon Limitless pass last year, I’ve nevertheless decided to renew (albeit paying monthly rather than one lump sum) as even if I can try to aim for two movies a month, it’s still ever so slightly cheaper than the full ticket price.
So I went and saw James Gunn’s Guardian of the Galaxy, Vol 2, and I have to say I’ve never had such a great time at the cinema watching a movie. It is a FUN film. A fun, fun, film. It never takes itself too seriously for the most part, but for even for the hardest of hearts, you’ll be shedding a tear by the end. I have never laughed so hard at any film before – and the audience loved it too. The gang are back – Star Lord, Gamora, Drax, Baby Groot and Rocket Racoon – but this time they’re joined by Yondu and Mantis. I’ll say nothing of the plot, other than it essentially picks up from the first film and explores Star Lord’s paternity. The film is peppered throughout with a stonking soundtrack, picked out by Gunn himself, and the use of John Lennon’s Oh My Lord and Cat Steven’s Father & Son is just beautiful – as is the opening titles featuring ELO’s Mr. Blue Sky. You’ll be wanting to download the full playlist from Apple Music (or Spotify) afterwards and play it over and over again. A soundtrack selection like this hasn’t been this good since Harold & Maude (which made very heavy use of Cat Steven’s repertoire) – and of course the original Guardians of the Galaxy, Vol 1. James Gunn has said on social media that he’s aware of, and is trying to get UHD release of GotG Vol 2 – if so, this would mark the first Marvel Studios film to get one, and given how colourful and epic the cinematography is in this film – would be the right way to view the film at home.
Almost immediately afterwards I went and saw Alien: Covenant (or as my autocorrect likes to call it, Alien: Convenient!). I know a lot of people didn’t enjoy Prometheus, but I liked it. It’s nice to try and provide a back story to the origins of everything that’s happened up until the original 1979 Alien, and Alien: Covenant takes that further – but tries to get back to its horror roots. We have chestbursters, backbusters, vomitbursters and all sorts in this one. There are some very effective scares brought on by a wonderful sound mix. I’m not a person to jump out my skin easily, but there were at least two points in the film I did so (as I’m sure did the audience, when they weren’t playing with their bloody mobile phones) – mainly due to the sound design. If this film is going to win anything, it’ll be for sound design and VFX (by my former employers, MPC, of course). Alien: Covenant is an intriguing film – and if you’re a fan of the original Alien I’d recommend it. It doesn’t quite have the same impact (when you seen one chestbuster, you’ve seen them all), and the characters are definitely not the sharpest tools in the box. But it makes for an entertaining 2 hours romping through the mythology of Alien and preparing us for the third and final prequel in the trilogy. As a side note – it’s interesting that this film has been rated 15. It features a fair amount of gore – but I suspect as technology has improved, audiences have become wiser to how things work and these things are just not as shocking or as bad as they seem back in the olden days of filmmaking.
On the home entertainment front, I watched A Monster Calls on iTunes. It is a magnificent effort in storytelling – simply a beautiful, wonderful film. Essentially it tells of a young boy who is being bullied at school and is being raised by his mother, who is dying of terminal cancer, summoning a monster – a walking and talking yew tree that comes to life. The monster tells the boy that he will tell him three tales, but the boy must tell the monster a fourth tale, which is the nightmare the boy has been suffering from each night. That nightmare is of a church and graveyard falling into a massive hole, with his mother holding on to her son for dear life. This is, of course, a symbolism of the boy losing his mother to cancer. A Monster Calls treats the subject matter very well indeed: how do you cope with the forthcoming loss of your mother? It made me appreciate the 24 years I had with my mum before she passed away back in 2000. It was maybe because of this that I cried – hard – throughout the film.
A Monster Calls treats the subject matter sensitively, and is well handled: how do you cope with the forthcoming loss of your mother? It made me appreciate the 24 years I had with my mum before she passed away back in 2000. It was maybe because of this that I cried – hard – throughout the film. It brought up memories, and that as my mum started become ill and weaker, that I had to prepare for the inevitable. That sort of thing was very hard – and the film serves as a reminder for that.
The tales that the monster (which is voiced and whose motion capture performance is by Liam Neeson) tells the boy are beautiful animations that resemble watercolours – traditional fairytales but with a bit of twist to them – and that forms a relevance in the boy’s life. A Monster Calls combines fantasy and realism in such a natural manner that even you’ll forget what’s real and what’s not. A beautiful film that deserves all the praise it can get.
And finally on to Passengers. I had heard a lot about this film (none of it good). But I very much enjoyed it. It provides us with a big dilemma – if you were on a long voyage in which you had to be put into hibernation, but the system fails halfway until you get there, and you can’t go back under – what do you do? You have to live the rest of your life on the ship. This is the dilemma faced by Jim Preston, a passenger on the Avalon on the route to a new homeworld. He’s woken up 90 years too early by a fault in his hibernation pod. He’s the only human being around – the ship is fully automated (but due to damage caused by a meteor storm, various parts of the ship start to fall to bits). His only companions are an android bartender (played by Martin Sheen), and the restaurant robots. As he’s an engineer, he tries to figure out his situation – and tries to wake up the crew, but is prevented from doing so due to security barriers. After wondering through the hibernation bays (there are some 5,000 passengers in total) he comes across Aurora, a beautiful young woman. He starts to think. He’s all alone. But if he was to wake somebody, it would essentially be condemning them to death – they wouldn’t reach their destination alive, and going back to Earth would result in the same fate. I won’t go any further into the plot – but needless to say, it becomes a bit of a rollercoaster ride from that point onwards. It’s a bit like Titanic in Space meets Pixar’s Wall-E (ironically Wall-E’s composer, Thomas Newman, also scores this film). Enjoyable film.