Rikki Don't Lose That Number [Sci-Fi Telephone Booths]

We're all familiar with a certain Time Lord and her preferred mode of telephonic transport:

But while the Doctor was one of the first, she is far from unique - in fact there's a long and respectable tradition of science fiction heroes travelling in telephone booths. Excluding the good Doctor, here are my top five long distance callers:

#1 Bill And Ted

Doctor Who has spawned many spin-off series and movies over the years. My favourites were the Bill and Ted movies - Bill and Ted's Excellent Adventure (1989) and Bogus Journey (1991). It's a blast - a great time-travel comedy and a decent attempt to create an American Doctor Who. It's absolutely canon. The eponymous heroes, played by Alex Winter and Keanu someone or other, travel through time in a US phone booth "borrowed" from Time Lord Rufus (who strictly speaking should be called The Rufus), encountering historical celebrities in their quest to complete their homework and ultimately secure the future of civilization through music. A nice touch is that this TARDIS is actually controlled by looking up the desired historical period in a phone book and dialling the number.


#2 Harry Potter

Why waste time with flying cars, boring broomsticks, itchy Floo powder or those blasted Portkeys when you can travel in style in a phone booth? The phone booths in Harry Potter are secret entrances to the Ministry of Magic.

#3 Professor Branestawm

In the BBC's fun adaptation of Norman Hunter's Professor Branestawm, starring Harry Hill, the Professor invents a slightly slower-moving phone.

#4 Neo

The Matrix is another of my favourite Doctor Who spin-offs. The links to original Who are subtle, but Whovian fans should be well aware that in Doctor Who, the Time Lords have a supercomputer called the Matrix. In the Matrix, there is also a supercomputer called The Matrix. If you are exploring the Matrix and need to leave in a hurry, you get to a phone booth.

#5 Superman

The final entry in this list is Superman. He only rates #5 as he doesn't actually travel in a phone booth, he just changes in one. This will be hard to explain to the mobile phone generation.

Last Train To Transcentral [Review: The Commuter]

This review may contain some spoilers: please ensure your swibbles are fully functional.

The third Electric Dream is a slice of coffee-and-walnut flavoured insanity served with hot chocolate and marshmallows. Ed (Timothy Spall) is a station manager living and working in drab and dreary Woking. An encounter with a passenger (Tuppence Middleton) trying to buy a ticket to a station that doesn't exist leads Ed on a journey to a town unlike any other. Heaven? A quantum leap into an alternate reality, or back in time? An escapist fantasy?

I am enjoying the strong sense of location in these adaptations - not least the fact that of the first three, two have been set in the UK. Superficially Electric Dreams is an anthology of stand-alone stories. However three episodes in I'm starting to think about the connections and trends in this series.

Thoughts so far: There's a trend of increasing dreams and visions. The Hood Maker has Ross's vision of the river, The Impossible Planet has the visions of the bicycle and the lake that run through the story and foreshadow the ending, and The Commuter is full of dream-like events. The Commuter also has a further layer of unreality - from both Macon Heights and the reality of his own attic, Ed finds his way into a strange, light-filled dimension that seems to lie beneath both realities.

Along with the increasing visions, there's a trend of decreasing logic. The Hood Maker has a story that makes pretty sound logical sense if you start from the existence of the telepaths. This first episode may however be an exception. The Impossible Planet makes sense to start with, but the visions and ultimately the ending defy logic. Macon Heights is a place of dream-logic - repeated events, idealized people, sudden transitions and so on. It also leaves too many questions if you try to think about it logically - for example, why does the passenger ask Ed for a ticket in the first place? And who are the people who help the returning commuters get back on the train in the evening?

The Impossible Planet and The Commuter both pose the Matrix dilemma in different ways. Which would you prefer to live in - an unsatisfactory real world, or a better fantasy?

In another respect, though, The Commuter is the most real of the three. It's set in the present day, more or less, and in a recognizable, everyday world at least for those of us who live in the UK and use the rail network. There's a family struggling with mental illness, and later with sadness and loss.

All three episodes so far have been of outstanding quality, and I'm particularly impressed by the visuals which once again are stylish and unique - due to the uniqueness it's hard to put any of these episodes into context, but the sense of a perfect, fantasy town that's just a little sinister is right out of The Truman Show.

Overall: yes. I think definitely yes.

Keepin' It Unreal [Reviews: The Game and The Joneses]

Who can you trust? Are the people around you who they say they are, or are you surrounded by actors playing their part? I present two films that prove you don't need Matrix or Source Code high-tech wizardry to take a hammer to your perception of reality.

The Game - a David Fincher classic from 1997 - stars Michael Douglas as Nicholas, a successful, bored superbanker drawn into a mysterious real-life roleplaying game. The Game is often quoted as a precursor to Alternate Reality Gaming but this is misleading: unlike The Game's premise which is tailored to the individual, ARGs seek to draw groups of players together to cooperate in real life or online; also, unlike poor brain-frazzled Nicholas, ARG players (I generalize) like to be in on the joke. The Game re-writes the rules of reality every few scenes, upping the stakes each time.

Steve and Kate Jones (David Duchovny and Demi Moore) are The Joneses, the perfect new neighbours moving in next door with their two perfect kids: everyone they meet falls in love with the charm act. Thing is, they're actually a "stealth marketing unit" - four unrelated salespeople masquerading as a family, enticing jealous neighbours to buy into their consumer lifestyle. It's a great conspiracy theory, at most two steps away from real-world celebrity endorsement.

Cleverly, the Joneses' immediate neighbours are old-school beauty product salesfolk themselves: they are the past, defenceless and blown away by this new style of aggressive marketing. Duchovny's character, despite being a smoothly successful car salesman is new to stealth marketing and the masquerade takes its toll on all four "family" members even as the locals fall over themselves to get into ever-increasing debt. This is an intelligent film that asks the right questions of advertising: just how powerful is it? is it truly harmless? is it ethical? and, where is it going?

Daydream Believer [Review: Inception]

Inception is good, hard speculative fiction in the sense of gedanken-experiment. It revolves around a single, simple concept - shared dreaming - and the plot of the film introduces and explores the practical, philosophical and moral questions thrown up by this concept.

While the idea is straightforward, the plot is not: as the climax approaches, the heist-movie team of nöonauts* are travelling through different dreams simultaneously while trying to pull off their audacious and precisely timed plan. Director Christopher Nolan and editor Lee Smith, who also worked together on The Prestige, have once again delivered a complex plot that remains easy to follow - a number of cinematic devices, including the different colour themes and styles for each layer of reality, help with this. However where The Prestige is perfectly edited, Inception is close to perfect but slightly too long, and as a result a few scenes gain a comic edge that may not have been intended.

Casting is great whether you are a fan of Mr. DiCaprio or not - like many heist movies this is very much an ensemble piece. I was particularly pleased to see Ellen Page, the star of Juno, in a major role - an arrogant and talented architecture student and far from your typical action heroine.

Previous films such as The Cell, The Matrix, eXistenZ have explored similar ideas to Inception - travelling either into the minds of other people or into cyberspace. A common idea is that when you die, or are killed in such a state, you also die in real life. There's no obvious reason for this so I was pleased to see that Inception takes a different and more intelligent tack. Here, if you die in your sleep, you just wake up - however it turns out there are other, more plausible ways for dreaming to be dangerous.

*The term nöonaut for a dream traveller is not used in Inception but in Black Brillion and Matt Hughes' other novels and short stories of The Times Before The End Times, in which characters explore the collective unconscious and do battle with archetypal foes.