Tag Archives: sci-fi

Thor: Ragnarok

post_master-thor-960x540The Marvel Cinematic Universe is so bloated by this point that it’s a full-time job to keep up with what’s going on.  Thankfully, Thor: Ragnarok doesn’t get bogged down in what’s come before.  Instead, the third installment in the Thor franchise tells a self-contained story and shifts Thor’s segment of the universe from dreary fantasy mode to action-comedy mode.  From a cameo by Matt Damon that I totally missed, to a Taika-Waititi-voiced blue rock monster, to Hulk and Thor arguing over everything and anything, Ragnarok is the funniest apocalypse movie you will likely ever see (sorry, Zombieland!).

My only complaint, really, is that the plot got in the way of the fun.  Every time the scene shifted to the problems Cate Blanchett’s Hela was creating in Asgard, all I wanted was to get back to the wacky trash world where Thor and Hulk had crash-landed.  I guess this movie had to justify its existence by advancing the plot and having big stakes but I would have gladly spent the whole run time hanging out with my new favourite Avengers (who I am happy to report have now started their own spin-off team).

Anyone who has enjoyed Taika Waititi’s past work will not be disappointed by Thor: Ragnarok.  If you haven’t enjoyed Waititi’s work, you’re probably on the wrong site, and if you haven’t seen his other stuff, then do!!!  Start with Thor: Ragnarok and go from there.

As he always does, Waititi will introduce you to madcap supporting characters whose main purpose is to make you laugh, and even better, he will show us that Thor and Hulk have actual personalities.  Purists may take issue as those two characters are notoriously dull, but I thought it was a fantastic improvement that should be carried forward into the next 40 or 50 Marvel movies that apparently are still to come.  Comic book movies should be bright, colourful and fun, and Thor: Ragnarok is all of those things from start to finish.  Go see it!

 

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Marjorie Prime

In the future, grief will be obsolete. If you are missing your partner of 50 years, all you’ll have to do is invest in a good hologram, tell it some personal stories, and all of a sudden you’ll have a spouse 2.0 sitting on your plastic-encased sofa, reminiscing about all the good times you shared. Is it a little creepy? Depends who you ask. Certainly when elderly Marjorie (Lois Smith) chooses to see her departed husband Walter as the handsome, middle-aged man she first met (Jon Hamm), her daughter Tess (Geena Davis) thinks it’s a little weird. Tess doesn’t want anything to do with her hologram Daddy but Marjorie is quite enamoured with him.

screen-shot-2016-09-12-at-7-29-47-pmThe film makes you think about memory, and what that means, and how it is shared, and if it is real. And it makes you think about humanity and what makes us truly ourselves, and if we can separate ourselves from memory, or if indeed that’s all we are is our memories. And it makes you think about love: can it be recreated, does it live on after death, does it exist independently outside a couple, is it found in the details or does it truly live in our hearts? So if you’re in the mood for a talky, thinky piece with very little action, Marjorie Prime may just be the film for you. Based on a play, most of the film takes place within just one room. But within that room, the acting is superb. Lois Smith is a phenom. Jon Hamm, Geena Davis, and Tim Robbins orbit around her, fueling her sun.

The movie feels haunting and intriguing, and maybe it isn’t fair to say this, but it raises such interesting ethics that I almost wanted more from it, more cud to chew on. At times the film feels a little redundant: you have to feed the hologram in order to make it more believable, more “real.” But no matter how many perspectives you feed it, it will always be missing its own. These “primes” strikes me as an excellent opportunity for Sean to finally construct a Jay he’s always dreamed of: one that doesn’t talk back, who doesn’t know sarcasm, who doesn’t remember the time he told a naughty story about her in front of his mother. But the thing is, if Sean invested in this Jay Prime because he missed her, what good would she be if she didn’t roll her eyes at him?

Even with its faults, I enjoyed Marjorie Prime, for the watching and the thinking it inspired afterward. Watch it, and tell us what you think: would you be comforted by a hologram of your mother or your spouse or even your dead dog?

Blade Runner 2049

blade4Has there ever been a more beautiful vision of a dystopian society than what Denis Villeneuve and Roger Deakins serve up in Blade Runner 2049?  Even a photo of a dead tree will be captivating to those around you.  Nuclear wastelands, city-sized garbage dumps, and coastal dams will all amaze.  Visually, this is exactly the sequel that Blade Runner deserved.

Story-wise, Blade Runner 2049 is probably the sequel that Blade Runner deserved as well, though that’s not necessarily a compliment.  The story is muddled right from the hard-to-read title cards that try to bring us up to date on what’s happened in that world’s last 30 years.

The facts in the title cards turn out to be quite important to keep up in Blade Runner 2049’s world as we follow an LAPD officer (Ryan Gosling) trying to solve a 30-year-old mystery involving our old friend Deckard (Harrison Ford).  Though it is unfortunate that the title cards are as dense as they are, I would not have wanted the movie to try to retell its background story, as the 163 minute run time is plenty long enough already!

Refreshingly, Blade Runner’s world is not our world.  It is an alternative future, so there is no attempt to revise the original’s timeline (as you may recall, Blade Runner is set in 2019 in a world where robot slaves are fighting space battles and colonizing other planets for humans, so things did not exactly turn out in our world as the first film predicted).  Interestingly, those differences make it easier for the view to focus on the similarities between their world and ours.  Villeneuve has delivered another very thoughtful, deliberate and satisfying sci-fi film, and it’s easy to analogize to our world every time a replicant is treated as disposable property (which happens a lot).  The film also offers a lot to chew on regarding memory and the nature of reality.  Honestly, I’m still digesting it all as a I write, while also trying to sort out a few of the story’s finer points, and this film is one that I’m going to have to watch again to get everything sorted.

It’s remarkable how closely this sequel resembles the first movie,  in style and substance, despite being released 35 years later.  More remarkably, at the same time it is paying tribute to the original, Blade Runner 2049 is telling a fresh story set in this familiar world, and manages to leave the original movie’s largest question unanswered in a surprisingly satisfying way.  So while Blade Runner 2049 is not the best movie of 2017, it is a good movie made great by its technical excellence, which naturally makes it the perfect sequel to Blade Runner.

Valerian and the City of a Thousand Planets

Long before I saw this movie, I was annoyed with its title. The trailer gave the impression of a crime-fighting intergalactic duo, and yet for some reason only the boy seemed to get credit. It’s based on the graphic novel Valerian and Laureline, which means the author himself thought of them as equal partners, it’s only Hollywood that’s decided to downgrade the woman’s presence while also prancing her about in a bikini at every opportunity.

Having seen it, I see there are way bigger problems. The casting, for instance, made no thumbnail_25961sense at all. Supposedly, Valerian and Laureline are capable, dependable galaxy-savers, but nothing about either of these two gives the impression of a even the remotest shred of competency. I wouldn’t trust them to house sit for me; if they were in charge of saving my world, I’d be biting down on my cyanide tooth. But this movie wants me to believe that not only are they upstanding employees, but ready for marriage, even though they look like perhaps they’re only just now discovering the growth of hair over various private body parts.

Cara Delevingne has only ever managed to be convincing as an underwear model, which is what she was before stumbling into “acting.” When a director casts her in a movie, it’s like they are putting a disclaimer on their movie “Yeah that’s right, this is going to suck. Style over substance!” Her acting technique consists of walking into a room eyebrows-first and saying the line, usually in the direction of the camera. She has the emotional range of a robot but none of a robot’s grace or fluidity. Dane DeHaan, on the other hand, looks like he should be bagging groceries at the Piggly Wiggly. Put these two chuckleheads together and what do you get? Just two dumb rocks in a potato sack. Or, in the case of Valerian and the City of a Thousand Planets, two dumb rocks in a tin can (aka, space ship). If that wasn’t enough to convince me of its utter superficiality, I guess the sight of Rihanna pole dancing would have pushed me over the edge. Though to be fair, I would have gladly watched her dance for a thousand days rather than see Ethan Hawke play a pimp with a nose ring.

The whole thing was so uncharismatic, the movie almost killed me of boredom. I was so numb I could barely follow the “plot” which, like too much sci-fi fare, consisted of: something’s in danger, someone has to save it, fight, fight, fight, special effects, special effects, the end.

Genocidal Organ

In the near future, a devastating terrorist attack in Sarajevo shocks the world. The governments of most industrialized countries use the widespread panic to justify an increase in surveillance of their own citizens. While the developed world is safer than ever before, the third world- without the means to conduct such widespread surveillance- descends into chaos and mass murder.

Captain Clavis Shepherd  is one of the few Americans unfortunate enough to have to navigate this chaos. As a covert intelligence agent, Shepherd conducts bloody and dangerous missions around the world while his superiors monitor his vitals from Washington to make sure he’s not feeling too much compassion. His latest mission is to track down the mysterious John Paul, the architect of so many genocides around the world.

Genocidal Organ is not always easy to follow but will reward those who try to try to keep up. It took me about twenty minutes, given that this is a Japanese film with Japanese animation and Japanese voice actors speaking Japanese, to realize that most of these characters are supposed to be American. It feels weird at first. This must be how Russian people feel watching Eastern Promises. Once you’ve figured out who everyone is though, it’s easy enough to settle in and just enjoy the movie.

Visually, Genocidal Organ is an impressive film. The animators create a believable setting and the shootouts have better choreography than most live-action films do. As I’ve said before, I’m no good at describing animations so here are some stills to give you an idea.

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As a story, it’s an engaging spy thriller that tricks you into having fun because it looks so good. At its heart though, Genocidal Organ is hopelessly bleak. It’s a movie that, like John Paul (who is quite fond of monologuing), has a lot to say. While the script probably has a couple of speeches too many, its musings on linguistics, psychology, American foreign policy, and freedom are always interesting and often troubling. Be prepared to sit and think about this one for a few days after you see it.

War For The Planet of the Apes

 

This review is late because it’s taken me all this time to decide how to tell you that Sean and I went to see this at the drive-in but I got so baked I have no idea what the movie is about or if I enjoyed it. After days and days of deliberation I think I’ll go with “Ehh, another movie about a talking monkey, who gives a shit” That’s pretty smooth camouflage, right?

I mean, those are probably my true honest feelings because I’ve never been into this franchise. I checked out the moment a trailer showed me an ape riding a horse and I am physically incapable of checking back in. But all my lovely review compatriots have been talking this one up like crazy, like it’s an actual, honest-to-Heston good movie. And I believe them, sort of.

Here’s what Sean and I were able to cobble together over lobster BLTs on the patio:

  1. Caesar, the leader of the apes, has decided to move his congregation to a nicer locale because presumably real estate just got too damn expensive in San Francisco.
  2. He sends the majority through the desert (?) toward ape shangri-la, but he and a few trusty sidekicks stay behind to confront the Evil Colonel and settle a personal vendetta.
  3. The Colonel (Woody Harrelson) really hates the apes, and is really afraid of turning into them. He’s gone rogue though.
  4. The real army hates the Colonel as much as the Colonel hates apes. The Colonel has enslaved some apes to build a wall that doesn’t help him all that much come Go Time.

Is that about it? I’ve got the gist, right? The story didn’t connect with me whatsoever but even in my distracted state I thought the CGI was crazy-good. I usually hate movies like The Jungle Book where I know I’m just watching a cartoon but I didn’t really feel that way in this movie. The motion-capture technology is pretty stellar and Andy Serkis is doing top-notch work. The Special Achievement Oscar was given out from 1973-1995 in recognition of achievements that made exceptional contributions to the motion picture for which they were created, but for which there was no annual award. The last year it was given it went to John Lasseter for his leadership of the Pixar team that birthed Toy Story. Maybe it’s time to dust that award off for the work that Serkis in particular has done with performance capture.

That’s all well and good but I think we can all agree that these pretty words are just frosting meant to cover up the fact that I forgot to bake the cake. If you really need to know more about War For the Planet of the Apes, please follow these links to people who paid better attention than I did:

 

The Film Blog calls it “a hugely satisfying round off to a superlative trilogy.”

Movie Man Jackson calls it “emotional-drama first, action-blockbuster second.”

The Craggus saw it and called it his “new favourite Apes movie and the benchmark by which I’ll be measuring the rest of 2017’s offerings.”

Jason called it a “sheer cinematic achievement in film.”

Bad Bloke Bob called it a “a tonal masterclass.”

Steve J Donahue reluctantly admits it’s “a crowd pleaser” but actually pleases me with his faint praise.

Polar Bears insist “this apes trilogy isn’t just a good blockbuster trilogy; it’s damn good filmmaking overall.”

Sarah finds “much to like about this film.”

Society Reviews called it “uninspiring” and had the same problem with the wall that I did. So ha!

Keith Loves Movies found influences from “The Revenant, Saving Private Ryan, The Shawshank Redemption, and Silence.”

Nerd Feed calls Caesar “one of the greatest cinematic characters we’ve ever seen.”

Andy gives it 5 “damn dirty apes!” out of 10.

Adam found it “wonderfully charming” but noted an “exaggerated runtime.”

The Space Between Us

An astronaut behaved irresponsibly and went on the first mission to Mars pregnant. Never mind that they won’t even do surgery on me without double checking that I’m fetus-free, somehow they let this woman go into space without peeing on a stick and they blame HER. Even when she dies in childbirth. It’s such a shameful scandal that they decide to keep her pregnancy and the resulting baby a secret from everyone watching on Earth…which means they raise her kid on Mars and no one outside a select few astronauts even knows he exists.

The kid, Gardner (Asa Butterfield), now in his teens, has lived entirely on Mars. He’s only MV5BZjhjMjFjNzctOGE0OC00NmM1LWEzOWQtOTczOTEzNmNmNWVmL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyNjk0NDk2ODc@._V1_.jpgmet about a dozen other people, all astronauts colonizing Mars, including Kendra (Carla Gugino), the woman who is quasi-raising him. He’s smart, as someone raised by a team of scientists would tend to be, and he finds a way to have secretive chats with Earth-girl Tulsa (Britt Robertson). She doesn’t know who he really is, and wouldn’t believe him anyway. But when he shows up at her school (after a months-long journey of course) she is still keen to go on a father-finding adventure with him, while he marvels, mouth agape, at all the wonderful Earthy things he’s only read about in books. Kendra and program director Nathanial (Gary Oldman) chase after him, knowing his organs cannot withstand Earth’s atmosphere.

You might think that the teen romance genre and the sci-fi genre are not natural bedmates, and that’s a fair worry, but it’s not what troubles the movie. The movie failed way before that. There’s actually not much space between the leads, who spend more of the movie sharing a truck cab than on two separate planets. But what we really need to be concerned about is the excruciating nonsense between them. The uncomfortable schmaltz between them. The insane leaps of logic between them. The unforgivable cliches between them.

The movie just doesn’t know what it wants to be. It’s not even charming as a fish-out-of-water story because there’s little time between them to stop and smell the roses. This movie is a time-waster at best – not a memorable one, and not an entertaining one. If it was titled The Waste of Space Between Us, at least you’d know what you were in for.

 

 

Paul

There’s just something right to me about a Nick Frost – Simon Pegg pairing. And this movie celebrates their inherent dweebitude. Graeme (Pegg) and Clive (Frost) are just a couple of nerds visiting the U.S. for comic con and then an alien-themed road trip, you know, Area 51, Roswell, New Mexico, all those popular conspiracy theorist tourist traps. Only this road trip just happens to bring them a real alien, and his name is Paul (voiced\motion captured by Seth Rogen).

MV5BMTQxODA4NDc2Nl5BMl5BanBnXkFtZTcwNjQzMDQ2NA@@._V1_SX1777_CR0,0,1777,999_AL_.jpgPaul crash-landed here decades ago and has put up amiably with interrogation and testing, but he’s making his escape now that the only thing left is to slice and dice him. Is the government simply going to let him get away? Of course not. Jason Bateman, Bill Hader, and Joe Lo Truglio are all hot on his tail (he doesn’t have a tail). Graeme and Clive have an RV and a religious one-eyed woman named Ruth (Kristen Wiig) and that’s about it: not ideal fleeing-the-government provisions, but it’ll have to do.

Paul is a love letter to science fiction fans. Pegg and Frost made the film’s pilgrimage in real life, and based the script on some of their odd encounters. The idea first came to them on a rainy night on the set of Shaun of the Dead, where they quickly sketched the character. Cameos and references to pop (science) fiction abound – how many can you spot? Paul is a real tribute to the genre but also just genuinely funny, even for those of us without an intrinsic love of extraterrestrials. This isn’t an excellent movie, but it’s a good enough movie, and frankly, it’s funnier than anything presently in theatres.

1 Night

Two couples, both alike in dignity. One is young, one is old. Or we’re supposed to think they’re old even though they’re only in their mid 30s.

The young woman (Isabelle Fuhrman, literally the orphan in Orphan) has just been broken up with at prom. The young man (Kyle Allen, looking a little like a young Heath Ledger) is there too, lusting after her, the girl next door who won’t give him the time of One Night, feature film set stillsday. But then a mysterious older guy gives him some advice, and a mysterious older woman gives her advice, and they spend the night together, pushing each other in pools and falling in love.

Meanwhile, the older couple appear to be falling out of love. Their current relationship is unclear though they’ve certainly been lovers at one point. But witnessing young love is messing with them, causing them to reminisce down a certain romantic path which can only be littered with truth bombs. He (Justin Chatwin, of Shameless) seems to be pushing for a reconciliation while she (Pitch Perfect’s Anna Camp) seems resistant.

First time writer/director Minhal Baig has a good idea here but it fails to develop. I think it’s supposed to be a treatise on what it takes to make love last but doesn’t have enough to say about it. It’s character-driven (a kind way of saying plotless) but doesn’t very clearly define said characters. It ends up feeling a little ‘millennials vs hipsters’ and I just couldn’t love it, even if it blossoms from a promising seed. Thank goodness for mercifully short runtimes.

Alien: Covenant

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You always know better than the idiots in horror movies. Don’t go to an uncharted planet streaming John Denver songs to the universe. Hell, don’t go into space period! When you get to the planet, don’t trust its lone inhabitant who lives in a graveyard and conducts science experiments in a drippy cave. Especially when the results of those science experiments look suspiciously like the creepy little things that just blew up your only ride off the planet. But if not for those dumb decisions, there wouldn’t be much of a movie here, and certainly not one about Aliens with a capital A.

As the SXSW Sneak Peek hinted, the idiots in Alien: Covenant are more tolerable than most, because every bad decision leads us to a place we want to go. Ridley Scott’s playful approach here elevates Alien: Covenant above every entry in this franchise since Aliens. The bad decisions aren’t infuriating, they’re chess moves, most of which lead to another piece getting ripped apart into gooey chunks by space monsters.

Everything in this movie services the Aliens, including the speedy pace at which they burst out of people (taking only as long as needed to cause maximum carnage). Alien: Covenant felt like a Star Wars prequel in that respect, as the technology (in this case, the creatures produced by those previously mentioned science experiments) behind the Aliens seems better in the “past” than in the “future”. I suppose that’s inevitable when prequels are made 30 years later, and I was a lot more forgiving of it here that I was with Star Wars. I think that’s because in Alien: Covenant, the changes from the original rules make the movie more entertaining, while the changes in Star Wars made the movies into a CGI tutorial mixed with a boring political drama.

Above all else, Alien: Covenant is fun, and that’s because Ridley Scott and his cast (led by stellar performances by Michael Fassbender (x2) and Katherine Waterston channeling Ripley and kicking Alien ass just like Sigourney Weaver did) deliver everything this franchise’s fans could possibly have asked for. No unnecessary exposition, no extraneous plot points, just Aliens mowing down idiot after idiot.

For that, Alien: Covenant gets a score of eight chest-bursting xenomorphs out of ten.