I am thoroughly ambivalent about The Last Day on Earth. The episode didn’t fit with the tenor of the rest of the season. It smacked of torture porn and marked the end of an unknown character, probably more than one character. I’m waiting to see what happens next, for the first time in six seasons of loyal viewing, to decide if I’m still going to watch. More torture porn will make it not watching.
One of the other commenters observed to me I’m thinking that the season 5 finale marked a good point to end the series on a high note. . I’ve mentioned elsewhere that the Alien sequels ended with Aliens. That’s right, there are only two Alien movies in my headcanon. Hicks & Ripley settled down and adopted Newt after arriving safely back on Earth. End of story. Having already written my own endings for popular fiction in the past, albeit in my own head, writing my own end to The Walking Dead (TWD) will not be a problem. They all died. End of story. The season 5 finale was more positive, but also less definitive. I really was wondering what would happen next after watching that finale, a feeling I’m completely lacking this time around.
Someone resurrected this zombie thread (pun intended) with a spam comment today and while I was reading back through the comments I noticed that the one after mine took the time to break down how the camera perspective meant Glenn was the guy being beaten to death with a baseball bat.
Beaten to death, with a baseball bat. Let that sink in for a few, because it is a wakeup call. One of the most popular shows on television ends its sixth season with one of the most loved characters on TV of the time possibly being beaten to death with a barbed-wire wrapped baseball bat. We’ve come a long way from The Andy Griffith Show, just to mention another totally random show featuring a character that has a sheriff as its lead. Even if you compare TWD to Gunsmoke, the changes in America’s viewing culture is quite shocking.
It also bears noting that there is a certain amount of fatalism inherent in shows like TWD. All of the characters will die unremarked by anyone around them, because it is a story about the zombie apocalypse. No one will be left to record their last words, because there will be no one to recount the story. This is above and beyond the fatalism of TWD comic book fans who already know how your favorite characters die in their comic books. A literalism that they attempt to write onto the screen with every passing episode.
I can safely say, with not a hint of spoilers, the death wasn’t Glenn’s as the other commenter described. Not that Glenn didn’t die anyway. As I said, no spoilers. I binge-watched season seven on Netflix this past month, prepping to binge watch the final season this fall. Seventh season’s viewing numbers were so low that AMC decided to end the show on a high note and wrap it up with a second season of Negan vs. Rick.
I should thank TWD for making me finally cut the cable. Within a month of watching the season seven opener, the Wife and I decided we didn’t need to spend money on cable television that we weren’t going to be watching anyway. With BBC America moved to the even more expensive tier of cable subscription than the one we had, there was nothing on the TV we were overpaying for that we wanted to watch. Aside from which, it was less jarring to watch TWD on Netflix as a binge event, and not paying for cable TV has saved me a couple of thousand dollars by now.
On the subject of the eighth and final season of TWD, I’m having a real hard time believing Negan isn’t dead yet, much less figuring out why anyone would follow the son of a bitch anywhere. My experience over the last two years of TWD has shown me that you can’t take comic books and make videos out of the stories and characters directly (as if the DC movies are not proof of this already) it is better to let people who understand the medium of television write for that medium themselves.
2 weeks left. Is the Kingdom ready for one last stand? #TWD
Of course, the pro and con trolls then proceeded to make hay over their various opinions on the subject of TWD in general and not the final half of the final season in particular, including one particular troll who threatened bodily harm to the naysayers. I haven’t watched the first half yet, not being willing to spend actual cash on seeing it before the season is finished. But opinions? I have a few.
I started with Threatening us with injury is a punishable crime; as is everything Negan does in the show. I don’t accept that the character of Negan is realistically drawn or portrayed. I don’t accept that people will simply do as they’re told because they are afraid. There are too many examples of the contrary being true throughout history. The Governor was far more believable as a character, which means TWD has done the evil leader thing already in the show, and done it better previously.
Religious zealots who adopt labels like savior, groups that submerge the self, like Fight Club and Tyler Durden, they have a certain way of speaking and thinking, at least on the screen. This is important if you want your audience to come along with you for the ride. The first Negan’s, the first saviors our heroes meet in TWD? They displayed this behavior in a vague sense. It was a nice teaser, as far as teasers go.
Unfortunately it was a tease that was completely lost when we meet the Negan himself. He is no Tyler Durden. He doesn’t suffer to show his followers his dedication to the cause. The Negan is just another dictator. Kill him and the cult of personality dissolves because the power, the person, is lost. The problem of repercussions is negated if the saviors fall apart without him. The more complex, religiously motivated cult-like group is probably what the comic portrays (I don’t know or really care) but the writers for the television show wrote something else. Negan grooms his people to blindly follow him. Without him they are nothing. This is just basic character motivation here. It isn’t hard to follow.
No, Negan would have been dead the first time he handed Rick the bat. Be honest. There wasn’t enough saviors there to do anything except die. The show has been torture porn since the end of season seven. I have only continued watching out of vague curiosity as to how the writers will complete the story. I ceased caring about the characters somewhere about minute 45 of Last Day on Earth. I ceased caring out of a sense of self-preservation. It was clear through the course of that episode that the writers were purposefully tormenting the viewers with the death of their beloved characters. I don’t have time for that kind of mental illness.
If you are enjoying torture porn, you might want to ask yourself why? It’s a question everyone watching should ask themselves, and at least be truthful with yourself about the answer. What the answer implies is between you and your conscience alone. After all, no one will remember why you died in the zombie apocalypse. They won’t even remember that you lived.
Online comments reposted to the blog, with an addendum. “It is always now on the internet”
That is the headline that The Guardian should have gone with when they wrote this story,
Christian State-Holy Rus, a radical Russian Orthodox movement, warned in February that “cinemas will burn” if Matilda was screened.
This month, another Orthodox Christian activist destroyed part of a cinema in Yekaterinburg, the central Russian city where the royal family was murdered, by driving into it in a minibus containing gas cylinders and a barrel of petrol.
Uchitel, whose film studio in St Petersburg was targeted in an attempted arson attack in August, says police have ignored his appeals for protection.
Natalia Poklonskaya, a prominent MP with Vladimir Putin’s ruling United Russia party, has said the film “insults the feelings of religious believers”, a criminal offence in Russia since 2013, and has called for it to be banned.
With the declaration by the Russian Orthodox Church that this film should not be seen held firmly in our view, with a member of Putin’s government calling for prosecution of the makers of this film, it becomes almost a human duty and definitively an American’s patriotic duty to take the time to watch this film. There is no more basic difference between Russia and the United States than the widely misunderstood notion of freedom of speech.
2017 Matilda Trailer It took me a bit to find a trailer with English subtitles. I would love to see the film dubbed in English. Here’s hoping there is an English version.
The last Czar of Russia, Czar Nicholas, was the equivalent to the pope of the Russian Orthodox Church, and has been elevated to sainthood in the revived church. A church which has been in ascendancy along with Vladimir Putin, and not coincidentally by many accounts. What is left unsaid in this pogrom against the film is that Vladimir Putin should be seen as the current figurative head of the church (the Pope in Catholicism) or Czar of Russia; or would be seen that way if his hand was allowed to be seen initiating this persecution of free expression in his country. Vladimir Putin is far too canny to be seen so transparently manipulating his people.
The Broadway show and subsequent productions were condemned by some religious groups. Tim Rice was quoted as saying “It happens that we don’t see Christ as God but simply the right man at the right time at the right place.” Some Christians considered such comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive. At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews were responsible for Jesus’ death by showing most of the villains as Jewish (Caiaphas and the other priests, Herod) and showing the crowd in Jerusalem calling for the crucifixion. The musical was banned in South Africa for being “irreligious”. A 1972 production of the play was banned in the Hungarian People’s Republic for “distribution of religious propaganda”.
Because of these departures from the gospel narratives—and especially a brief scene wherein Jesus and Mary Magdalene consummate their marriage—several Christian groups organized vocal protests and boycotts of the film prior to and upon its release. One protest, organized by a religious Californian radio station, gathered 600 protesters to picket the headquarters of Universal Studios’ then parent company MCA. One of the protestors dressed up as MCA’s Chairman Lew Wasserman and pretended to drive nails through Jesus’ hands into a wooden cross. Evangelist Bill Bright offered to buy the film’s negative from Universal in order to destroy it. The protests were effective in convincing several theater chains not to screen the film. One of those chains, General Cinemas, later apologized to Scorsese for doing so.
I attended a viewing of The Last Temptation of Christ on principle. I’ve actually seen it several times. I won’t sing its praises the way I will Jesus Christ Superstar, but then I’m not a christian and most of the issues that christians objected to in the film miss me by a mile. I think Jesus should have given up his hatred of family and settled down to raise one. He would have lived longer. The world might even have been a better place if he had. If that unexplained tangent confuses you, you probably should go watch The Last Temptation of Christ and retain your American Patriot status.
The creators of Matilda should be lauded for being willing to take on the subject of Czar Nicholas and the end of Czarist Russia, not persecuted for daring to tell a tale deemed to bawdy and uncivilized for a saint of the Roman Catholic Church. I will be paying to watch the movie in a real theater if I can find one showing the film in my area. It is the least I can do to support the arts and freedom of speech across the globe. Every America should go see it because it will piss off Vladimir Putin, if for no other reason. After giving us president Trump, it is the least we can do in return.
I originally titled this piece Pope Putin Declares Jihad Against Russian Love Story. I mixed the religious connotations on purpose; Jihad for the violence the label recalls to mind, Pope because most people don’t know that the Czar is the pope of the Russian Orthodox church. As usual, my attempts at clever word play are too clever by half. Now revised to its current form, it stands in testament to the fact that clever headlines never again sound as clever as they did the moment you come up with them. Most of them just start sounding offensive and stupid. It still should be Czar Vladimir, not Putin. Czar Romanov wouldn’t tell you which one of the Romanovs was currently the Czar, and it is a duplication of terms since the house of Romanov was the Czar’s house for several hundred years. But Vladimir has too many syllables, and Vlad is somebody else in history. We’re not doing vampire stories on this blog, and Vlad the Impaler wasn’t Russian.
We lost Bill Paxton last Saturday and it was quite a blow to me as a film buff. I remember pretty much every movie he’s been in, and his characters in each film. What I found surprising going through my traditional (morbid?) ritual of watching something that featured the recently deceased, I couldn’t find anything that I wanted to watch that he starred in as a leading man.
Everyone remembers Twister, obviously. I probably remember it a little differently than most people. I grew up in tornado country. As good as the rest of the film is, I can never get past the final sequence of the two lead actors running uphill to lash themselves to a pipe in a wooden shed, with horses calmly ignoring the digital storm they couldn’t see around them. This poorly thought out and executed sequence pulls me right out of the film and worst of all, ruins the whole thing for me. The rest of Twister deserves the kind of tribute that the storm chasers gave him upon learning of his death. I hadn’t known it was such an inspiration to young kids of the time, motivating them to go into the field of meteorology and storm chasing in particular. Any film that inspires young people to do something good with their lives has to get a passing grade no matter what its other failings might be.
Similarly I wanted to like the film A Simple Plan but was put off by the fact that it was sold to us as a comedy in the trailers and promotional material, but was so definately not a comedy in viewing. It is a tragedy and a drama and worth watching. No matter how good it is it’s not going to be remembered in a kind light when The Wife wants a comedy and she’s mad and crying. That doesn’t bode well for the film ever being rewatched in this household.
We settled on Apollo 13 and Tombstonefor our tribute to him, two excellent films in which he plays positive if lightly comedic supporting characters, which was actually what Bill Paxton was the best at.
This shouldn’t be seen as a slam or a put-down. The leading actor or actress in a film or play is only as good as their supporting actors allow them to be, and he was a consummate artist at playing the comedic foil or the well-intentioned loudmouth. My favorite film features him in a role he was essentially made for as an actor, the role of PFC. William L. Hudson in Aliens. It was just one more in a series of great supporting roles that enabled the top billed names to shine through his artistry off-screen as well as on it, but the stars were right in that film.
My favorite director combined with my favorite actor and actress of the time, with hands down one of the best supporting casts ever assembled. Case in point. I stumbled across this interview in my teary-eyed path down memory lane, and marveled at how these two work the interview together.
My favorite actress and one of my favorite supporting men, just naturally continuing the leading lady, supporting actor relationship established in the film; him laying up subjects for her to embroider as a leading lady should. Just a gentleman and the support that he should be, happy to be part of the interview.
I’ll have to sit down and watch his directorial efforts Frailty and The Greatest Game Ever Playedjust to confirm for myself that they are as good as my friends have said they are, but he will always be Hudson to me. I hope he doesn’t mind if I remember him that way.
It’s shocking and sad that American film and television creators won’t be able to rely on Paxton’s rough-hewn decency, his game sense of humor, and his canny ability to steal a scene. Paxton was dependably watchable in projects that weren’t as good as he was, and great in roles that gave his characters the scope and depth to display their irreverent and essential humanity.
The Wife & I always sit through the credits. The reason for this is not only professional interest (CGI is a hair’s breadth away from CAD and Sandra has worked on dozens of films) but also stress relief. Read the credits, miss the mad rush to go elsewhere.
It is mind blowing that all those thousands of names listed under “special effects” are people who aren’t making that much off of the films we’ve just enjoyed. That most of the firms only make a few films before going bankrupt.
In their chase for a global audience, American movie studios spend billions to make their films look amazing. But almost none of those dollars stay in America. What would it take to bring those jobs back — and would it be worth it?
Not only can I not count, but I left off at least a dozen films that I know are better than the ones I put on it. I know that, because I read back through the hundreds of posts and kicked myself for not putting them on the list.
For starters, I’ve been doing a Netflix Clint Eastwood retrospective. Not exhaustive, just felt like I wanted to see some of his films I enjoyed back in the 70’s and 80’s and hadn’t seen since. The son wanted to watch Dirty Harry, so we’ve made our way through all five of them and now we’re about to start the spaghetti westerns. His middle work, the westerns that followed Sergio Leone’s films, those I’m just going to add to the home library, which is why I kicked myself for not including Pale Rider or High Plains Drifter, just to name the next two films I’m planning on buying.
But that’s just to name what is going on in my head right now.
I completely forgot I watched The Hateful Eight quite recently, and that is damn annoying because it was such an excellent tribute to the vanishing art of super 70 wide screen films. It was good too. Not as good as 3:10 to Yuma which I own and did remember. Not even as good as Django Unchained, Quentin Tarantino’s previous film. I’ve seen all of Quentin Tarantino’s work, it is all worth watching if just for the experience. There is a reverence for the art of filmmaking in his films that you can’t find anywhere else.
But again, that is just scratching the surface. Reading back through the other comments reminded me of Little Big Manwhich I haven’t see recently but remember fondly. Butch Cassidy and the Sundance Kid, a mainstay of my childhood that held up well the last time I watched it. Many mentions of Shane. I hate to admit to the cardinal sin of never having watched Shane, but I guess I can always atone for it by watching it soon. So I will.
I just barely scratched the surface of the impact that John Wayne had on my young life. I literally didn’t even have to think to name three films of his that I rated top ten. I could have done all ten as John Wayne films and still had some left over. I remembered True Grit because I saw the remake recently. Really can’t watch the John Wayne version without watching the unofficial sequel Rooster Cogburn. Really can’t watch McClintock without watching its unofficial sequel Big Jake. The Man Who Shot Liberty Valance had the most mentions, but I think The Shootist is the most memorable of all his films because he was already dying of cancer when he made it.
High Noon had the most mentions of any film (rough count) but truthfully I didn’t find it that memorable. I mean, I’ve seen it. I don’t recall anything about it. I don’t think I’m a Gary Cooper fan, to tell you the truth. I remember more about the movie tribute to the TV series Maverick than I do about that film. Both the series and the film are worth watching just for the experience, but then I grew up watching The Rockford Files so go figure.
For the many people who recommended Magnificent Seven (or the more recent remake that is on my list to see) I suggest you watch the original. No, not the 60’s American film which was so popular they made a sequel and a series. No, I’m talking aboutSeven Samurai by Akira Kurosawa. I’ve seen three or four of his films and I have not been disappointed by any of them. Fair warning, be prepared to read subtitles.
Finally I suggest Cowboys & Aliens because, why not? You have cowboys and they are fighting aliens. What could you possibly hate about this film? Just joking, save your criticism, I’m well aware of its failings having seen it four or five times. It is one of the Wife’s favorite films, and it really is quite good once you’ve seen it a few times. This from the guy whose favorite episode of recent Doctor who featured Cowboys & Aliens, just different ones. Episode title A Town Called Mercy. Give it a try.
Weirdest film I’ve run across in reply to David Gerrold’s hive mind query? Well, weirdest film that could be called a western anyway? Zachariah.Just watch the trailer. If you can that is. I couldn’t, but I’m going to try to watch the film.
So as you can see, I can’t do just ten, and I’ll be kicking myself for forgetting something that just has to be part of this list the minute I hit the publish button. Such is my life.
As a people, we don’t believe in America. We stopped believing in America sometime after WWII. Maybe it was some time during the McCarthy hearings. Maybe it was the assassination of JFK. Maybe it was the sixties and the Vietnam war. Maybe it was Nixon and Watergate. And maybe it’s been the sea change in our culture. Maybe the democrats failed to understand the smoldering resentment of the red-state voters. But probably it was all of these things. – David Gerrold on Facebook
America became someplace else after WWII. Before WWI, before the crash in ’29; before all of that, the US was mostly farms and industrial manufacturing focused on delivering products to Americans who needed them. After WWII we became aware of our power. More importantly, our leaders became aware of it and used it to throw our weight around the globe, influencing other nations to enter our circle of friends, the people who would get rich off of our prosperity with us.
Today we consume most of the production that the world generates, while paying little to nothing for it aside from letters of credit to foreign powers who then use that wealth to buy up parts of the US.
Demanding what we want at the point of a gun, as we have done since the 80’s, is getting old now. The rest of the world is beginning not to care what we whiney Americans want, and they aren’t going to keep buying our debt in exchange for their blood and treasure if we don’t let them own us in return.
The system which worked following WWII has come to it’s functional end. It is time for a new system to be born, and I don’t think the world is ready to take on that herculean task. I don’t think we can afford to wait, either.
This change since WWII, this focus on the Military Industrial Complex and it’s servants in Washington D.C. are why Philip K. Dick’s stories have played so well in the last few decades. There is a madness there in his stories, a madness that the man himself suffered from profoundly. That madness is echoed in the world around us, the disconnection between what is real and what we want to be real.
It is almost as if we didn’t win WWII. It is almost as if we… lost?
“There has never been a period in our history where the law and order branch of the state has not operated against… the black community” – Kevin Gannon, Thirteenth
This was a hard film to watch, especially as a white man living in a Southern state. A Southern state that will probably go for the self-described law and order candidate. Thirteenth is a documentary that horrifyingly depicts the long-term effects of a single clause in the Thirteenth Amendment to the United States Constitution.
The hardest thing to accept about this film isn’t the graphic depictions of blacks being killed at the hands of police at the end of the film. It isn’t the detailed narrative that traces the effects of the end of slavery through Jim Crow to the admission of a Nixon official that the drug war was wholly conceived as a method to end the 1960’s era of black rights activity, concluding with the election of Ronald Reagan, George Bush Sr. and Bill Clinton all under the coded language of law & order candidate, all promising and fulfilling that promise, to continue what we now know to be a racially motivated war on crime and drugs.
No, the hardest thing about watching this film was knowing that the group that would profit the most from this film would never sit down and give it a chance to change their minds.
The people who will go to the polls and vote for the lying real estate developer (but then I repeat myself) who speaks in coded language, language whose code is known by everybody by this time in history, promising to jail people whom we know are innocent, prosecute people who have done no crime, exclude people who are demonstrably dying by the hundreds. The people who will vote for that guy, the Orange Hate-Monkey, the Birther-in-Chief, the people who don’t understand that #MAGA means Misguided Appallingly Gullible Americans, Those people? They’ll never watch this film. They’ll never watch it because they are afraid. Afraid of being wrong. Afraid of having been wrong for longer than most people have been alive on this planet.
But they, above all other people, need to understand this film. Because when their candidate loses (and he will) it won’t be because the election was stolen from him. It won’t be because their voices weren’t heard. He will lose because the vast majority of Americans are not afraid of the future. We embrace it, as we always have. They need to understand that they are part of history. They are a part of history that we want to leave behind in history.
It doesn’t matter if it premieres the resurrected Great Bird of the Galaxy himself, I won’t be going to see this film in a theater. This will be the first film in Star Trek history that I’m actually hostile about before I’ve even seen it, and one of three that I loathe ever having been created (FYI, it’s the last three) I cannot express the level of revulsion that I feel when I contemplate what kind of depraved acts will be enacted on the corpse of one my most cherished memories from another time. Better to just pretend it isn’t happening, I guess.
I did catch a “edited for television” version recently. It was every bit as bad as I imagined it would be, and then some. Somehow the internet haters really failed to communicate just how ridiculous this farce of a film was. I’m not sure how this is possible, but it is. Magic blood. A Khan that isn’t South Asian. Starfleet officers engaging in conspiracies, taking the lives of their own people when they fail to submit to aggression.
That Khan failed to pervert the crew of the Enterprise in the TOS episode “Space Seed”because future man is no longer susceptible to terroristic threats of this kind is a philosophical achievement lost on the creators of nutrek and the Abramanator himself.
The number of violations of Gene Roddenberry’s vision of the future are almost uncountable. They will remain uncounted by me. It was enough for me simply to confirm that the film was bad and not just bad Trek.
My apologies to the ghost of Gene Roddenberry for having witnessed this narrative of depravity.
The film rates half a star on the 5 star system. I can’t rate it lower than that or I would.
Having failed to keep up my end of the bargain and actually never watch the film, I felt I had to come clean and admit to my transgression. This article isn’t just about Star Trek: Into Darkness. I haven’t been a Trek fan for quite a few years. I quit following the show or hanging around with fans of Nutrek ages ago, not long after declaring Star Trek dead in 2009. I have no interest in being an internet hater. I have even less interest in spending time in the presence of people who like things that I think are unforgivable violations of the intellectual property of a long-dead inspiration.
I am quite happy sitting here alone in my office.
I am forced to revisit this subject because the abramanations continue, and the general movie-going population remains vacuously enamored of J.J. Abrams’ tripe.
I sat down and watched Star Wars VII a few weeks ago with the Wife. We had planned on watching that film on the big screen and we missed it because it left theaters within a month of coming out, quicker than any other Star Wars film in history. I distinctly remember saying;
Given what George Lucas has done to Star Wars, I can hardly imagine how Abrams could fuck it up more than he has.
When it was first announced that J.J. Abrams would direct that film. Having watched the film I feel I now owe George Lucas an apology.
I owe George Lucas an apology because Star Wars VII is just Star Wars IV told even more poorly as a story, while millions upon millions more are spent on meaningless effects sequences. It is a marvel to watch from an effects standpoint (much like Mad Max 4) while being almost incomprehensible from a plot and story perspective (also like Mad Max 4) And since George Lucas filmed Star Wars IV with less money and with no example to script by, I have to conclude that his is the superior intellect when contrasted with the abramanator.
It is nice to be proven wrong on occasion, even when the proof takes a few hours out of my life and a few yards out of my intestines due to the indigestion caused by stress. Stress caused by having to watch bad filmmaking being rewarded so lavishly.
I never did do a post series write-up on that show, even though (as the link illustrates) I was quite the fan, following all the crumbs and clues and waiting for the next episode and the next season with breathless anticipation. Until the story stopped making any sense at all, sometime during season four. I doggedly continued to catch every episode even then, and bought the DVD collections for each season, trusting that somehow it would all make sense in the end.
Except it really never did. LOST is singularly the worst written story arc ever to be completed in a television show. It is the only show that, having gotten to the end, I really wanted all my invested time back. Not only does the story not make any sense, but the finale attempts to make every possible fan prediction about what the island was, and how the characters survived, be true simultaneously. It is the series that best manifests the truism trying to make everyone happy is the surest way to piss everyone off.
Every season following the third season became harder and harder to watch. Far from being the finale that ruined the show for me, it was the reliance on tropes and heuristics to ‘sort of’ move the show along to the conclusion that most of us saw coming years before the confirmatory finale; the finale which so deflated everyone’s expectations about the meaning of it all.
Why season three? Remember the season three cliff-hanger ending? (I despise cliff-hanger season endings. Loathe them. What happens if the stars die or back out of their contracts? Just pretend the viewers weren’t left hanging?) Charlie’s big sacrifice? Didn’t mean anything. It might have meant something if the Oceanic 6 hadn’t then gone on to… What? Go home, become helpless invalids? Fail to raise children and then return to the island? Return to the island in the past (a past that the smart guy in their midst says can’t be changed) Return to the island and be blown up by a nuclear explosion (an event that historically didn’t happen) which traps them in a time bubble. For all eternity. With people they hate as well as the friends they love.
I hate to break it to this guy, but if you have to explain what the ending meant in order for people to get it, then it really wasn’t closure of any kind, much less a good ending for a series. The only reason people still talk about LOST is because the J.J. Abrams is Hollywood gold for some inexplicable reason, and so people feel obliged to say nice things about the series that launched him to success.
I watched in disbelieving horror when Damon Lindelof was paraded out a few years back on The Nerdist, which was airing on BBC America at the time. Held up as some kind of authority on time travel stories, taking apart what turned out to be better, more interesting stories that used the story-telling vehicle in question.
Damon Lindelof. An authority.
An authority on stories about things which most scientists will tell you are theoretically implausible, which is about as close to impossible as you can get a scientist to go.
Let me put it this way. My reading of time travel stories and watching time travel movies, being obsessed with the concept of time travel for as long as I can remember. My discovery of Doctor Who in 1972 on a hotel television screen in Denver colorado (on a channel called PBS that I’d never heard of) makes my left testicle more of an authority on time travel than Damon Lindelof or J.J. Abrams himself. They so screwed up time travel as a story vehicle in every episode of LOST and in the Abramanation, making the story vehicle a distraction from rather than the method of telling the story that I can’t even begin to explain how they might fix it other than to tell them to go talk to actual speculative fiction writers about what they did wrong.
Which brings me to the real reason I started this post. I ran across a clip on Youtube (see, I said it was bad news) advertising an HBO series that riffs off of another movie and story that I grew up on. That would be Westworld.
This is one of those rare films I was allowed to go see as a child. What is most interesting to me looking back at it; this film and the Andromeda Strain mark the beginnings of my exposure to Michael Crichton, which ended with his death in 2008 and the novel State of Fear, which many people mistake for non-fiction. In the middle was Jurassic Park as a high note and the poorly adapted Congo as a low note (the novel was much better than the film) it seems that his imagination has served as punctuation marks along my journey through science and speculative fiction.
I liked the original film. It is quite campy now and probably barely watchable. I don’t know for sure. What I do know is that the J.J. Abrams is highly touted as having a hand in the HBO series.
Which spells doom for the series from the outset, if you want to take my word for it. I doubt that most people will, since most people think that Star Wars VII is a good film, so I’ll try to put it another way.
The watchability of this series will be in direct inverse correlation to how much actual control Abrams has over it.
It could be a good series, I won’t be holding my breath. I won’t be able to watch it anyway until it hits Netflix or some other third party site since I don’t pay for HBO any longer. That is one fine trailer though. Gunshots and partial nudity. Deep bass vibrations in the music to amp up the fear. Lots of famous actor cameos. Hits all the marks that advertising executives require. Just like the trailer for Star Trek: Beyond. Haven’t seen that Star Trek either, but I might watch it. I might even pay to watch it. Someone else wrote and directed it, so it might be OK as an experience. Remember, an inverse relationship to Abramanator control. The Star Trek trailer sports the Bad Robot logo, though. Not a good sign.
HBO is riding the crest of a wave that they hadn’t expected to be on. Who would have thought that George R.R. Martin would hit it big on television, with HBO as a backer creating the adaptation of his long running A Song of Ice and Fire fantasy series which only people who live in caves without the internet won’t recognize as Game of Thrones.
I am now obliged to offer an apology to George R.R. Martin as well as George Lucas. Not just because I’ve first mentioned him in this article about the dreaded Abramanations; but also because, unlike the rest of the family and probably the rest of Austin if not the entire US has seen, read or listened to his stories and I still can’t name one title of his I’ve read even though I distinctly remember sharing a table with him at an Armadillocon somewhere in the murky past. For that, and for mentioning you here, I truly am sorry.
But HBO is the channel riding the wave now, as AMC was riding the wave of popularity following Breaking Bad and the first few season of The Walking Dead. We’ll just have to see if AMC continues to ride the wave with the next seasons of The Walking Dead and Better Call Saul (which I like more than Breaking Bad, but my liking things is usually bad for their continued existence. Just a word of caution) After the lackluster reception for the cliffhanger ending season 6 of The Walking Dead, they’ll just have to keep their fingers crossed.
Since Westworld isn’t likely to include nuclear weapons or time travel, it is probably a safe bet to watch it. A safe bet for HBO to back it. I’d be on the lookout for the Abramanator to find some way to include those devices in the show, if I had money on the line. If he does, take your money, run and don’t look back. You’ll thank me for it later.
I need to stay away from Youtube. That’s what I’m learning. Just FYI, 100% of this is !spoilers! if you haven’t watched the films in question. Consider this fair warning.
I disagree with Verhoeven and quibble with most of the other answers given here. I hated Lost in Translation. I was Lost. In Translation. Actually I was lost in the crypt keeper having a fling with a high school student and it supposedly being romantic. But that is beside the point. I really don’t care what was whispered to the young girl at the end. I just wanted the old guy to leave her alone. I love you Bill Murray. This is not directed at you specifically. I had the same reaction watching Havana. Old men and young women. Yuck.
Verhoeven may think he knows what the ending to Total Recall means, but there really is no answer within the content of the film. The light comes from the sun in the film, not the blade of a knife. Like most of these explanations, if the film doesn’t contain it, the interpretation is open to question no matter what the director intended. In the same vein, Donnie Darko ends with him killing himself in much the same way that the director’s cut of Butterfly Effect ends with a very bad ending that is supposed to be interpreted as good for everyone except the protagonist. Too bad that the suits at corporate headquarters were right and made the director change the ending. It is a much better film that way.
Star Trek 2009 is not Star Trek, nor do NuSpock’s notions of logic or ethics actually equate to anything Gene Roddenberry filmed or wrote about Vulcans. Nothing about that film made sense to anyone aside from the Abramanator. Same with the second film.
If you really have unanswered questions about obscure films, blame the director. The art, the film, should contain all the relevant information needed to understand it in itself. If miscommunication happens it is the artist’s fault, not the fault of the viewer.
Better than blaming the director; if this frequently happens to you, take someone with you to walk you through the film afterwards. Audience makes all the difference. Most comedies are targeted to a specific audience. Take a member of that group with you to watch the film, preferably with an audience the film is targeted at. The comedy might actually be funny that way rather than just striking you as stupid or cringe-worthy.
This kind of slapstick comes across as too funny. Too funny as in 90 minutes of this would kill me with stupid. I might watch it. I might not. I can’t say. It is billed as featuring 40 previous iconic “Star Trek” actors so I might have to see it. But then that is what the filmmakers are counting on when they make these kinds of movies.
While I’m sitting there contemplating whether to hazard my diminishing quantities of brain cells watching so much stupid at one time (like a Marx Brothers film) the dreaded Youtube autoplay kicked in. First it was this short.
Camera motion, blood effects. Chopping one’s own arm off. Yeah, I can see walking out of all of these (I haven’t watched any American Horror Story. It’s just not my style. I am surprised the wife hasn’t wanted to watch it) which is why I haven’t seen some of them. Infrasound would explain a lot of things about certain horror films and my reactions to them.
Crap. Autoplay kicked in again while contemplating Tree of Life (Should I, shouldn’t I? Have I already? Is this me thinking?) What the hell will be next is anybody’s guess.
I’ve seen all but three of these (those three are now in my Netflix queue) Two or three of them are on my “must see” list when someone asks me what to watch next (hint; I have a soft spot for Bruce Dern, Roy Scheider and Sam Rockwell) For the inquiring minds, Heavy Metal was a movie about an adult comic book which apparently nobody ever admits to reading, not about the rock music which may or may not have been either inspired by or the inspiration for the magazine. The artwork in the movie is drawn directly from the various illustration styles in the magazine. Yes, I will admit to reading a few copies in my youth. Regrettably I don’t own any of them anymore.
Had Pitch Black made it on their list, it would have been four movies. I am once again victimized by autoplay.
Not sure all of these films are worth watching, much less being best films you should watch but haven’t. Foreign language films are not for everyone, so I don’t generally recommend them to people I know who won’t be up for reading subtitles, even if I might watch them myself.
I would personally recommend A Boy and His Dog. This is where the list starts to go sideways for me. This and the list that follows this one. It starts with the still image that introduces the list.
Don’t get me wrong, I think 2001 is a fine film. I think you should watch that and 2010 back to back. But 2001 is a snooze-fest. It is glacially slow as a movie. I don’t think a lot of people watch that movie over and over. They remember watching it as a child, but haven’t tried to watch it recently. I have, several times. Like the 60’s it was created in, it takes the right kinds of drugs to appreciate this film properly.
Don’t get me wrong, I love Stanley Kubrick. He has three films at least that I would put in the category of Best Science Fiction Films. Not just 2001 but also A Clockwork Orange and Doctor Strangelove. Most film critics will speak highly of Stanley Kubrick and his films. He is an auteur, his films bear the indelible mark of his authorship. But few of his films are light or fun to watch. You don’t just pop in A Clockwork Orange for a bit of light afternoon entertainment.
If they can recommend Strange Days without a caution (and I wouldn’t do that. Be prepared for murder and rape scenes conducted in the first person) then A Clockwork Orange is a walk in the park to watch.
No top ten list of Science Fiction is complete without Metropolis and Forbidden Planet. You cannot be a science fiction film fanatic without having seen those two films and recommending those two films. They can’t be on a list of films you haven’t seen; and if they are, your fan credentials will be subject to revocation.
Metropolis is arguably the mother of all modern Science Fiction, a film that has been revisited and reimagined in nearly every tale of dystopia, every film that questions who we really are, any film that posits the difference between man and machine. In the same vein Forbidden Planet is the forebear of Star Trek, Star Wars, etc. Those two films have to be on the top ten list or the list is invalid, in my opinion.
Especially any list that credits The Empire Strikes Back as the best science fiction film of all time. I doubt very much that anyone who wasn’t raised on Star Wars will think that Empire Strikes Back (much less any other Star Wars film aside from the original) should be on the list, much less topping it. Well, perhaps the original Star Wars; not the now-titled Episode 4, but the film which aired back in 1977, the film that may single-handedly require my maintenance of a functioning laserdisc player in my home. You remember, the movie where Han is the only person to fire a blaster in the famous bar scene? That film goes on a top ten list, if I could ever settle for ten.
I’m lying by the way. I won’t maintain the laserdisc player just for Star Wars. I will do it for the making of disc for The Abyss, for Tron, for the pressing of Highlander 2 Renegade cut and the copy of 1776 with the bits Jack Warner personally cut out of the film spliced back in and the splice marks still visible. I can link the version of 1776 that says “director’s cut” but there isn’t any way to watch the version I like other than on laserdisc. Same for the making of the Abyss which goes into the ordeal of constructing a set inside of and then flooding an abandoned nuclear reactor vessel so that real underwater shots could be pulled off with that deep water feel. The Abyss (special edition only) is one of the many, many films I would have to include in any list of Science Fiction films worth compiling.
There are a lot of good films included in their list, but I disagree with most of the films in the top five. I like them but they are all modern films. Derivative works of derivative works, unless you are talking about the Matrix or the Terminator (Not Terminator II. It’s good and a decent rewatch, just not as good as the first movie which it is derived from) both of which should be way up the list, higher than the Matrix actually appears.
Ten through six are all good solid films. I need to rewatch the War of The Worlds. I haven’t seen it since the 70’s on broadcast TV. I have the box set of all the original Planet of the Apes films. They all rewatch well aside from the last one.
Children of Men was a heart-wrenching film to watch, but I have little doubt it will survive as a cautionary tale of meddling with mother nature. The original version of The Day the Earth Stood Still was almost unique in its time period with the portrayal of aliens as not being hellbent on destroying us (a fact that the equally good but not as memorable remake decided to change) which lends it the credibility to withstand time. Children of Men is actually one among many films which portray humans as our own worst enemy.
Jurassic Park is showing signs of age, despite their insistence that it isn’t. Maybe it is the weight of the miserable sequels that colors my impression of it. Can’t tell yet. But Aliens? Really, Aliens but not Alien? I agree the sequels that follow are best forgotten, but how do you watch Aliens without first watching Alien? Can’t be done.
Which is the problem with derivative works and especially sequels. Without context the film is divorced from most of its meaning and has to survive on its own merit alone. This is why The Empire Strikes Back will not be remembered as the best science fiction film ever. Because without the first film (1977 Star Wars) you don’t know who the Empire is. Why the villain being Luke’s dad is a problem. Who the hell Luke is in the first place.
If we’re just going to recommend sequels, movies that you have to have watched the previous versions to be able to appreciate, I’d like to put in a shameless plug for Terminator Genisys (deja vu if you’ve read my last post carefully) As I’ve noted when recommending previously, the first 10 to 20 minutes of the film (after the first time jump) is a shot for shot tribute to the original film. It is the most beautifully made and scripted film that I’ve seen for awhile now, and it builds on established previous entries into the film canon, builds on them then knocks them all down, in ways that the viewer will not see coming. If you want to watch a good sequel, this is one for you to enjoy.
If I was going to make a list of ten films you probably haven’t seen recently (if ever) but speak highly of, 2001 is going to be top of that list. In fact, most of the Top 10 list that WatchMojo put together are films that I guarantee the compilers have not rewatched recently.
If you surf over to the WatchMojo website you will notice that they do an awful lot of top ten lists. Way, way more of them than is healthy, quite frankly. In fact, I can’t even find the films-by-decade lists that are mentioned in the Top Ten list just to see if the films I think are relevant are on those lists. I think that creating these endless list films that they produce keeps them from taking the time to enjoy the life that they rate in top ten increments several times a day.
I appear to have stumbled upon the kind of site that internet surfers loathe. The dreaded clickbait. The site that sucks up all your life and time, without giving you much in return. This explains why their films list is mostly modern films, or films recently remade with modern versions, like War of the Worlds and The Day the Earth Stood Still. Not an in depth analysis of any real kind at all. And I’ve written how much on this subject now? Several pages, at least.
So what about a real Top Ten List? The ten best SF (Science Fiction) films ever made? I don’t think I can create a list of only 10 of them. I tried to create one of those kinds of lists ages ago on Flixster. I soon found out that limiting the list to ten films requires that I eliminate films that are essential to understanding the artform. Films like Metropolis and Forbidden Planet.
The profile link for my list says I have 15 films on it. I can’t see them because their website enters an error when I go to click on my own created content. The web 2.0, more broken than the web 1.0 and now featuring more advertising. Luckily I copied a version of it off and posted it to this blog. I have no idea if it is the last one or not, but here is at least one of my lists.
Avatar should be in the top five. We can start with that. A lot of people love to hate on Avatar, but it is the film that inspired the resurgence of 3D and it wasn’t the 3D in the film that was remarkable. It is the fact that you cannot tell the animation from the real images in the film that makes it so remarkable. That you can have such a realistically animated film and not cross the uncanny valley in the process. It is an amazing film, soon to be a series of 4 films.
Top Ten worthy films produced since Avatar? I can offer a few.
Ex Machina. Highly rated and very watchable, it explores the boundaries of what is or isn’t human better than any film I’ve seen on the subject. A film worth mentioning that is also in the vein of Ex Machina is Transcendence, one of those poorly received for no good reason films, consequently not a film that would make a top ten list.
Because commercial success figures into the calculation of what is or isn’t good, what is or isn’t preserved, what is or isn’t watchable by people who pick up the material to watch later. It was highly rated and it made a lot of money, it is also still a valuable experience to have, even though I don’t know who Luke is (figuratively, from the future) if you want to make lists that don’t make you sound like an idiot, you have to take all of those metrics into account. And since future prediction is something we humans suck at, most of our lists will be utterly worthless.
Take, for instance, Gravity. This is a fine film. Highly rated. Made lots of money. Probably won’t be remembered (my apologies to Sandra Bullock) because it deals with current technology and doesn’t do that really well, even though the cinematography is excellent an the acting is nearly faultless.
In the same vein the mainstays of current cinema, the sequel, the franchise, none of those films survive without the other films in the series, like the Saturday morning serials of old. Consequently no Star Wars, no Star Trek, no Mad Max, no Alien will go down in history as worthy of mention, unless the first in the series merits it, or there is established a place for serial media (like television) to be consumed in the order it was produced. This gives it context, gives it meaning it doesn’t contain by itself.
That is why Alien appears at number five in my old list, and Aliens at number 10, and those are the only sequelized films on the list. Because films that are part of another genre, that can’t hold their own alone, will not be remembered. This means most of the comic book movies will also not be on any lists, if we can call those Science Fiction and not Fantasy. That is an open question, so don’t dismiss it. If we’re talking fantasy films, that is a whole other ball of wax.
Blade Runner would also have to be on the list. It is iconic. Worth mentioning is Dark City a twisted little film with the same feel and a completely different storyline. Both of those border on fantasy, so I could see how they would be excluded from a hard SF list. That is, if anyone actually knew what hard SF was, could meet others who thought they knew and that group could then agree on what the term meant. I consider that likely to be a fantasy in and of itself.
As I go down that old list, I can discard several films as being temporarily relevant. Films like Serenity. I still love it, but I am reconciled with the show never returning now. I keep hoping the Firefly online game will release, but I’m beginning to suspect that is also not going to happen.
Vanilla Sky and Eternal Sunshine of the Spotless Mind really are hard to rewatch. The Truman Show is still watchable, but really not surprising in the current age of reality TV. You can easily see someone pretending not to be on camera, deluding themselves into thinking the illusion is real. Sadly, it is all too believable now. Truman not knowing he was on camera? That is hard to believe.
I think A.I. should still be on the list, but it may fall off soon. We are just now getting to the point where robots are real things, much less making them capable of passing for human. The singularity that futurists are still fascinated with is portrayed loosely in that film, making it still relevant. Once the robots are among us, there is no telling what will happen next.
The last film that I’ve seen that should probably be included in any top 10 list is The Martian. Worlds better than Red Planet or Mission to Mars(Hollywood is so incestuous) both of which I paid money to see (Red Planet is good fun, just not good science fiction) The Martian holds up to the most intense scrutiny of scientists (other than the storm at the beginning) making it the most solidly science based fiction film since 2001.
Worthy of mention is Interstellar. Almost a time travel story (almost!) it mixes science and fantasy and comes up with a decent little film exploring the near future and what we might be facing soon if we aren’t careful.
Which brings me to the last great film that Robin Williams was in before he died, the movie The Final Cut; the story of a man afraid to live his own life, so instead spends his time authoring the stories of other people’s lives.
The actual current list? I’m still working on that.