Posts Tagged ‘sci-fi’

2010

2010

Monday, January 4th, 2010

“We have been given a new lease, and a warning, from the landlord…”

I figured for obvious reasons that this would make the perfect movie to start this year and decade with, especially on Blu-ray which I’m still a newcomer to, and especially since I’d never really watched it from start to finish if at all (I recognised a few parts but I’m not sure from when). Anybody who loves or at least knows cinema will know enough not to bring great expectations to this sequel to 2001 (which I’m not a personal fan of, but whose merits I fully appreciate), and approached this way, it’s not too bad at all.

What surprised me about the movie most was how much abstract remains regarding what’s revealed to us about the nature of the monolith etc. The movie begins with a computer readout of the “known unknowns” at the end of the first movie and what follows is futher exploration near Jupiter, the “resurrection” of HAL, and further developments leading to the creation of new worlds and a “new Eden” kind of set up that ends the movie with the line above. Watching at the start of a new year and decade, clearly we haven’t come quite so far as Arthur C. Clarke’s envisaged … but one can’t help but hope for events similar to this, something so cosmic and transformative we couldn’t all help but throw down our bullsh*t and look up together. [uhrm, /end corny mode]



Moon

Moon

Thursday, November 19th, 2009

I’m incredibly glad that even in this Twitter-enabled world I managed to avoid pretty much all plot details of this movie, and if you haven’t seen it yet, so should you. With that warning, I’ll still try to avoid any spoilers here as best I can. This movie completes a hat-trick of pleasant surprises for me this week, for though I’d heard many positive words about Moon, though I’m not a bit averse to the genre, though I think Sam Rockwell is a great actor and I’d seen an interesting interview with its director Duncan Jones on Robert Llewelyn’s Carpool, I still didn’t really feel that compelled to watch it.

This is, I’ve learned recently, what’s known as hard sci-fi – in this case, perhaps the hardest kind. There’s virtually nothing here that struck me as particularly far-fetched in terms of its vision of the (fairly near) future, even though the sci-fi aspect of the movie is not really what rings most true. I found myself drawn in and ultimately transfixed by where the story goes in the end, a seriously harrowing degeneration, both mental and physical, that brought to mind something like “When the Wind Blows” combined with revelations about a very recognisable corporate evil to whom human life is entirely expendable (to continue the wild genre-hopping comparisons, this complete disregard for human life in pursuit of capitalism reminded me of Richard Linklater’s Fast Food Nation). In short, way heavier stuff than I might’ve expected from what is a relatively small movie.

One thing I had known before the movie began was how it is almost entirely a one man show by Sam Rockwell. I’d seen the IMDb cast list and knew this not to be technically true, however, with Kevin Spacey on hand as the ship’s HAL-like computer (complete with very unsettling emoticon faces) and a wife and child on the end of a video communications link, but for all its visual wonder – with intricate model work instead of the CGI you’d find in most recent movies of this kind – it’s testament to good writing and acting indeed (to say nothing of Clint Mansell’s alternately unsettling and emotive score) that I could easily imagine this working as a one man stage play. Rockwell is phenomenal, easily the best performance I’ve seen this year so far – there’s one moment in particular which is actually kind of played twice (for reasons I won’t explain) where he receives some information from earth and breaks down, “That’s enough … I wanna go home,” he says, and it totally crushed me. This is the kind of sci-fi that even those who don’t consider themselves sci-fi fans should enjoy, where the “science part”, though amply established (it’s a slow burner but stick with it), serves merely as a kind of McGuffin for one of the most genuine explorations of the conundrum of human existence that I’ve ever seen.



Twilight Zone: The Movie

Twilight Zone: The Movie

Wednesday, November 4th, 2009

Alright, no more dallying, it’s time to catch up on all the stuff I’ve been watching since my unplanned absence, lol. This one was watched on a sort of whim – I’d just finished watching all the Masters of Horror episodes and found myself still in the mood for anthological story telling, and this particular movie had been mentioned once or twice on those DVDs’ extras. I enjoyed this movie a heck of a lot more than expected, especially Steven Spielberg’s segment.

I’ve seen little if any of the original episodes that most of these stories are based on (though I’d of course seen parodies of the William Shatner “Nightmare at 20,000 Feet”) so I came to pretty much the whole movie fresh – the bookends sequence is kind of corny and the first story didn’t do a lot for me at all but the wonder of Spielberg’s, the nuttiness of Dante’s and the manic performance in the third story more than made it worth the watch. Jerry Goldsmith’s score is fantastic, too.



S. Darko

S. Darko

Monday, May 18th, 2009

This was a lot better than I expected and reading other people’s reviews of it proved very interesting indeed. One of the first bad reviews I found said the following:

“To me this movie felt like someone watched Donnie a few times, wrote down some key elements from the movie in a notebook and then tried to incorporate it into a new movie.”

What can I say but I’m glad if this was the way they approached it. I have no time for those who think they can fathom the mystery of the original movie. Richard Kelly ruined it with his own director’s cut in my opinion. The mystery was key for me. For me, the things you need to fairly compare this straight to video sequel to are not the original theatrical cut of Donnie Darko (which it could never match) but other straight to video sequels, Richard Kelly’s demented director’s cut of the original, and Kelly’s own output since his ingenius debut. On all those counts, this for me easily comes out on top.

If you had any great love for the director’s cut of Donnie Darko over the original, clearly, this is not for you. You probably love the abundance of exposition in The Da Vinci Code and (I’m told) its sequel. I’m personally a fan of abstract cinema, believe it’s something that cinema does particularly well in fact, and to find that in a movie like this which on the surface at times looks as shallow as The OC or something is a huge relief. Like I said, it’s no Donnie, it couldn’t be. But it is beautifully produced, even the music being impressive; it has many parallels to the original story without being 100% rehash; and for a moment or two at least it even took my breath away a little. The ending kind of fizzles rather than blazes as it should and it’s an homage to the original too far that just doesn’t work, but otherwise, for what it is, I was very impressed with this movie.

(PS. Another of the reviews I just read said it was ‘worse than Grease 2 …’ which to my ears is really counter-productive, lol)



Star Trek

Star Trek

Thursday, May 7th, 2009

This one comes with such good spirit that reviewing it is entirely a waste of time … but I’ll do my best to recount my experience as always. I came to this, the first midnight screening available locally, not quite knowing if it’d be the biggest cinematic misstep I could make in 2009 or if, in fact, I might actually be the ideal audience for JJ Abrams’ approach to resurrecting the franchise. I’ve never been a huge Trekkie by any stretch, always citing the over-attentiveness to the details the show and movies seemed to have compared to more frivolous sci-fi outings like Star Wars, for example; I never really watched any of the TV series for any great amount of time, but I have seen all of the movies, even on the big screen, and with the possible exception of Final Frontier, I enjoyed them.

The biggest barrier for me here from what I’d seen in the small clips that had been released to the public seemed to the cast, in particular the two most important characters Spock and Kirk played by Zachary Quinto and Chris Pine. What I’d seen made the new crew look horribly fratboy-ish and to my mind horribly unbelievable in terms of their becoming the Enterprise crew of the original series. To make a wild comparison, like the Tinkerbell movie of last year, it looked like it wouldn’t matter how great the movie looked, no matter how they served it up, and even though like I say I was never even a fan, I would just never buy this crew as that crew.

How unwarranted could my worries have been? Though I still have my misgivings about Quinto in the Spock role (I don’t know, there’s something about his face like Casey Affleck that makes me feel like he’s constantly making private mockery of the material), the character here I found more “fascinating” than ever. The emotional content of this movie absolutely bowled me over and a lot of it centers around Spock of all creatures. Add to that of course (I’m sure you’ve heard) the presence of Leonard Nimoy who lends the movie an all-important sense of authenticity (I won’t touch on the what-where-how of why he’s there except to say sequel-prequel-wise this movie is insanely clever) and I can easily forgive this piece of casting. Chris Pine along with the rest of the main crew are another story entirely. Simon Pegg’s accent notwithstanding, I adjusted to them all almost immediately. Pine almost weirdly channels Shatner at some points, and like a lot of the could-be-awfully-cringeworthy-but-we-have-to-do-it-anyway moments, the balance struck is near perfect.

One of the things I always did love about Star Trek was the music and it was always gonna be interesting to see what happened after Jerry Goldsmith’s death. I was surprised to find nary a hint (at least until the glorious end) of Star Trek music past in Michael Giacchino’s score here and he dives in boldly creating the kind of score that overhypes the imagery that I’m usually averse to, yet he somehow gets away with it so much does the imagery live up to his hype. The visuals here are stunning – I was so afraid I would come away from it saying something along the lines of, “it’s good, but it’s nothing I haven’t seen before,” but I think I can say for sure that there were things here I really hadn’t seen before.

In short, it’s a stunning creation. It stands alone and it fits in with what came before. I don’t know if it fits in enough for some fans, but then I wouldn’t know that, but they do a valiant job of showing they care a little about those fans. Again, I won’t hint at the plot and how it ties in etc, but I want to point out again how incredible this movie is in terms of being a part of everything that came before it. It is not another reboot (god, how I hate that word applied to cinema), it’s much more than that, it’s almost dare I say genius. Just in purely objective terms this must be one of the cleverest and smoothest continuations of a long-running franchise that has ever hit our screens. The more I think about it the more impressed I am. The Nimoy factor is the icing on the cake. At the risk of being corny, may it live long and prosper.



The Day the Earth Stood Still [2008]

The Day the Earth Stood Still [2008]

Tuesday, March 3rd, 2009

I have to say, I didn’t have nearly enough cause to expect badness from this as it seems others did. I agree, no current Hollywood product could match the original – and I say that even though it’s a long time since I saw it and my memory is faint – but I felt the same about Invasion of the Body Snatchers and still found a place for the recent Invasion, let alone the other two perfectly watchable remakes thereof. There’s a lot of room for re-interpreting those allegorical sci-fis of way back when.

And for the first half hour or even more, I was honestly pretty mesmerized. The film makers throw us in at the deep end to a story running at full throttle. At least until the first Gort scene, it doesn’t take a single wrong step, and I’m honestly not sure it strays too far after that either. Once again, Keanu Reeves has been perfectly cast in a role that uses his … I hesitate to say “lack of talent” because he does do something that nobody else could do at times, but I struggle to find a better phrase; and Jennifer Connolly once more slayed me as she did in my rewatching of Hulk with some amazing glances. John Cleese puts in a rather jarring appearance and Will Smith’s son turns in a far from annoying child performance. I guess what I’m saying is, I don’t understand how this movie came out and got nothing but grief from the outset. There are far, far worse movies out there, especially in this genre. The visual effects are fantastic, even a little awe-inspiring here, a little skin-crawling there. I’ll definitely pull out the original again sooner than I come back to this one, but it was certainly a lot more absorbing than I expected from what I’d read.



Soylent Green

Soylent Green

Thursday, January 15th, 2009

This is one of those movies which every time I see it’s on TV I wonder to myself, why haven’t I seen that movie yet, and then skip it again anyway, only to then wonder, “why do I always skip it?” – and when I finally get around to watching it, I just kinda look at the TV and think, “oh yeh.” I of course knew the ending to this movie – don’t worry, I won’t spoil it – but I still find myself wondering if that’s really such a shame as it sounds like it oughta be. If I hadn’t been aware of how this movie ended, would I really have got any more out of it? Sadly I don’t think I would. This is a genuinely well-realised vision of the future: production design, visual effects and ideas come together to keep it marginally interesting for the duration, alongside some semblance of a detective story. But you get to the end and realise that’s kinda all these things are there for. At least, that’s how I felt.

All this said, it must be said, it took me until almost half way through the movie to even think to check the IMDb and see if the guy who looked like Charlton Heston really was Charlton Heston, lol (yes: some facts just skip me by, lol), and I was pretty surprised. Heston is not someone I like to watch in movies as much as a lot of other people – I have the same issue with Steve McQueen and used to have it with Warren Beatty, but Heston is like the king of the unwatchables, and yet he is perfectly watchable here. Other than this, what can I say except it just didn’t do it for me.



The Fifth Element

The Fifth Element

Wednesday, April 23rd, 2008

This is one of those odd movies for me to review, in that I feel like I really should have a review of it here after all this time, and yet I also feel like I’m kind of spent in my enthusiasm for it with the distance. I hated it when I first saw it on the big screen in 1997; but then, I hated a lot of things that year. I do know that every viewing since that, at least until this one, it got better everytime. This time I really started to wonder if it was really all about the beautiful orange-haired Milla Jovovich.

Every time I watch my favourite Luc Besson movie, Leon, I cringe even more at the boyish nature of the violence especially at the opening – like it really might as well be a bunch of 10 year olds running around going, “pitchoo!” at each other – and that stuff’s even more abundant in this movie. At the same time, however, it’s a lot more palatable due to the genre, especially once you start taking it as tongue-in-cheek comic-bookery. Oddly, the things that I despised most walking out of the multiplex in 1997 – Chris Tucker, Lee Evans etc – are the things I got the biggest kick out of (second of course to Milla) this less-than-ecstatic viewing. I’d forgotten about the Lee Evans appearance entirely, in fact.

So, is it really anything more than the half-naked orange-haired beauty of Milla? I guess first I want to say, even just considering Milla: she’s a lot more than that in this movie. I find her performance even more marvelous each time I see it and it’s a reason in itself to watch the movie even over the brief nudity and general heartstopping beauty of the girl. It nearly bears comparison to Jodie Foster’s Nell for me. The scene where she learns about war makes the movie for me, combining the best of her performance with just exactly the thing about the movie that does raise it above mere eye-candy. What it comes down to in the end, that conflict in Leeloo, “What’s the use of saving lives … when you see what you do with them?” – it’s simple but beautiful and it gets me everytime, even if it’s a long and clunky time coming. At least there’s Milla to get you through the dodgy parts.