The release date for the ninth and last of the originally slated sequels to the 1977 blockbuster, Star Wars, has been announced. When George Lucas was rewarded for his work on the original film, put together with a shoestring budget (judged by today’s movie budgets) he was floored by the fanbase that he had unwittingly created. People who willingly shelled out money for tickets to see the same film, over and over again for over a year, a feat that hadn’t been witnessed in movie history since Gone With the Wind had been released, a full human generation previously. When George Lucas saw how much money he could make in creating sequels to his original work, he abridged his stand-alone creation and let it be known that he had a lot more story to tell, if people were interested.
…and they were interested. The Empire Strikes Back was the second-best selling film after Star Wars when it released. Mr. Lucas went outside of the group that made the first film possible in order to realize the second film, but the movie made big bucks and set us on the course that we’ve been on, Star Wars and movie-sequel-wise, ever since.
Return of the Jedi, the third film in the franchise, didn’t do as well as the previous two films, even though Mr. Lucas brought the film back home to have it made under his direct supervision. It was at this time that the nine film series narrative emerged. After the third film was in the can and George Lucas was looking for his next project. This was when Star Wars became Episode Four, and the plotting of the three prequels began.
Of course, we had to have the digital updates of the original trilogy first. And then we got the forgettable Star Wars episodes one, two and three. The kids liked them, so they sold well enough. There was a cartoon series about the Clone Wars and there were other spin-offs too numerous to mention. For someone who was let down watching the first Star Wars because the novelization was better than the film, it is hard to imagine waiting on the edge of your seat for anything Star Wars after those prequels dropped.
There were no theaters in Leoti, Kansas or Stinnett, Texas, the places where I was trapped during the year 1977, when Star Wars first hit movie theaters. The family had zero funds and bigger problems than my desire to see the epic adventure of our time, to deal with. So I didn’t get to see the movie when it released. I had to borrow a paperback copy of the novelization from the library in one of those two places. It was probably Stinnett. I didn’t get to see the original film until Empire Strikes Back was in release, and then I managed to catch the two films back to back in a new-fangled, dual screen twin cinema, constructed on the edge of my place of exile in 1980, Garden City, Kansas. One of the last things I did in that town before being shipped back to Texas.
It should be no surprise to long-time readers of the blog that I was much more impressed with the second Star Wars than I was with the first. An impression only strengthened after watching the third film, and then in witnessing the digital cheapening of the first trilogy in preparation for the release of the prequels.
I knew that what would come out after that would be questionable, and my impressions of all six of the later films is filtered through that doubt, the unwillingness to be suckered once again into paying money for an experience that couldn’t possibly be as good as what my own imagination could create in just reading the screen plays. Enjoying fantasy requires the suspension of disbelief, and I don’t have the willpower to suspend disbelief for something so clearly created just to manipulate my feelings with familiar characters. One. More. Time.
Is anyone waiting to see this film? Waiting like I waited to see Empire Strikes Back? Wanting to know what will happen next? Will Luke and Leia get together? They blew up the Death Star but the Emperor is still out there. Surely he has more versatile weapons at his disposal? We know all that stuff now, and none of the original characters have survived to be part of this last film.
Everyone has known the name of the ninth film for awhile now. The Rise of Skywalker. Does anyone care about these new characters? Just curious. I don’t. I’d like to care about Rey, but episode seven was just an orgasm of special effects loosely hung around the bare bones of the exact same story that George Lucas used in the original Star Wars. I watched episode eight specifically because Mark Hamill was going to be in it. It too was largely forgettable and I have mercifully forgotten it over the course of the last few years.
The best Star Wars film I’ve ever seen isn’t even one of the nine films. The best Star Wars film was Rogue One, with Solo coming in for a close second. Rogue One spins out a tale about how the plans that are mentioned in the original film’s crawler came to be in the hands of the rebel alliance. (h/t to screenrant) no, the film does not follow the previously established narratives for how the plans were stolen. None of them were in movies, so their relevance to the canon as established in film is really irrelevant, unless you are a die-hard fan.
Solo of course is all about Han Solo, my favorite character from the first and second films. I followed Harrison Ford from then to now, watching every film that I could afford to go see that has had him in it. Harrison Ford has been worth the effort to follow. His career has encompassed many movies that cannot be described accurately with words. You simply have to experience them to appreciate them. Movies like Blade Runner. The man is a master on screen, like few movie stars can be. The actor for the Solo movie did a passing good job of capturing Han Solo, the character, not Han Solo as portrayed by Harrison Ford. A subtle but important difference lost on people who aren’t movie buffs. He did well enough on screen following the master that I have to give him credit for trying, even if he fails to be Harrison Ford in presence on screen. No one but Harrison Ford could be Harrison Ford, in much the same way that no one but Morgan Freeman can be Morgan Freeman.
Facebook Memories has served up the hack job I did on Star Trek: Beyond when that trailer came out. I’ve run across it more than once now, enough times that I feel I should at least mention how wrong I was about the film somewhere on the blog. The trailer I saw on Facebook, shared on Facebook, was not the first trailer, but trailer number two. This trailer.
When I shared the trailer I simply paraphrased from Abramantions Multiply: It is still an Abramanation. The possibility of suckage is high.
The damn trailer has the Bad Robot logo on it. I consider that to be fair warning of impending suckage after the disaster that was LOST seasons 4 through 6. I suffered through all of LOST, the Abramanator will not trick me into liking his work again. I tried. I really did. I tried to make sense of those last seasons of LOST. I tried watching the 2009 Star Trek reboot. Then I declared Trek dead. The Nutrek reboots are bad in many ways, as I and others have gone into great detail to describe in the past. Details that long-time readers of this blog will know about. They are bad in ways that a lot of popular movies are bad these days (Star Wars 7. Mad Max 4) but also bad because of the disconnect with the universe that Gene set out to create.
Simon Pegg penned a decent little story when he wrote the script. The actors playing the parts delivered their usual best work; and since they weren’t working from the Abramantors crap scripts, the resulting blockbuster spectacle is pretty watchable from just about any perspective that you might come to it. It’s not even bad Trek, per se. There are some points that I might object to from a purist standpoint, but those points can be overruled by watching any number of classic episodes that diverged from Gene Roddenberry’s strict guidelines for how the Trek universe manifested itself. At least one of the episodes that breaks his rules is one he wrote himself. So there are flaws that a purist might take exception to, but anyone trying to watch it with disbelief suspended and a willingness to let the story progress unprotested (how to approach watching any film) will probably walk out of a showing counting it as time well spent.
So, apologies to the cast and crew of Star Trek Beyond. For the first time since First Contact they produced a show that was truly worth watching. They produced a payoff for all the fans who have hung on through decades of bad filmmaking. The characters we’ve loved since the sixties finally felt like they might actually be the same characters that we fell in love with, even though they were portrayed by different actors.
Paramount should try to make sure that Abrams’ company logo does not appear on any more Star Trek properties if they want to win fans back to the show. Abrams has burned too many bridges among the fan community to be welcome even producing films that have any kind of fan following. This should have been clear after the failure of Star Trek: Into Darkness. When he screwed up Star Wars after screwing up Star Trek, it has to be painfully obvious that he screws up everything he touches.
But when all is said and done, it’s just another summer dark ride. Lots of great stuff to look at, lots of things exploding, lots of spectacular FX, and when it’s over, you get out of the chair and go pee. There’s not a lot here to argue about. There’s no moral dilemma.
What attracted me to classic Trek is that the show was about something. Every episode had a chunk of idea in it, big enough to chew on for a while.
Too much of what passes for entertainment today is about justifying cruelty to someone else. Not enough is about sitting down and finding a way to avoid the violence.
And I wonder if that’s a reflection of what we’ve become … or one of the reasons we’ve become what we’ve become.
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 that RottenTomatoes zombie thread (pun intended) with a spam comment today (January 29th, 2018) 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.
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”
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.
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.
I give the film half a star on the Rotten Tomatoes 5 star rating 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 as the first paragraph of the review goes into, I felt I had to come clean and admit to my transgression after having watched Abramation II. However, 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, it left screens and moved to video release quicker than any other Star Wars film in history. I distinctly remember saying, when it was announced that J.J. Abrams would write and direct, that Given what George Lucas has done to Star Wars, I can hardly imagine how J.J. Abrams could fuck it up more than he has. Having now watched Star Wars VIII can honestly say I 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 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. Damon Lindelof paraded out and held up as some kind of authority on time travel stories, horrified as I watched him taking apart what were, in my estimation, more interesting stories that used the story-telling vehicle in question.
Damon Lindelof? An authority? An authority on time travel? An authority on time travel as a storytelling vehicle? 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. The mind boggles.
Let me put it this way. My reading of time travel stories and watching time travel movies, my 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 is this; Westworld and Andromeda Strain mark the beginnings of my exposure to Michael Crichton, a lifelong dance which ended with his death in 2008 and the novel State of Fear, a novel 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. I haven’t rewatched it in at least thirty years. What I do know is that J.J. Abrams is highly touted as having a hand in the HBO series.
J.J. Abrams having a hand in the series creation spells doom for the series from the outset, in my less than humble opinion. I doubt that most people will agree with me since most people think that Star Wars VII is a good film. However, I’ll stand by this equation,
The watchability of any media offering will be in direct inverse correlation to how much actual control J.J. Abrams has over it.
Westworld could be a good series, but 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. It 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, I haven’t seen, read or listened to his stories. I 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 George.
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 is going to be a bit like stream of consciousness to the reader. My apologies in advance for this if you find it impossible to follow.
I clicked a Youtube video link not realizing I was going on a journey that would take all day.
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 (SF) is complete without Metropolis and Forbidden Planet. You cannot be a SF 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 SF, 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 SF 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 SF 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 SF 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 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.
Why won’t Transcendence be a top ten listed film? 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. If the film was highly rated and it made a lot of money, then it is also still a valuable experience to have, even though I don’t know who Luke Skywalker is (spoken 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 of discussion, the mainstays of current cinema, the sequel, the franchise, none of those films survive without the other films in the series, just 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 the viewing experience context, gives it meaning it doesn’t contain within its own constrained run-time.
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 SF and not Fantasy. And whether they would be considered SF is an open question, so don’t dismiss it. If we’re talking fantasy films, we’ve opened an entirely different discussion. A discussion where the film Legend figures prominently.
Continuing the SF list. 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 presumption 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 SF) 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.
What else would be on the current list? I’m still working on that.
Fomenting a love of reading in the next generation should be one of a parent’s highest goals. With a love of reading an intelligent child can learn almost anything needed to cope in life. Without it even the brightest cannot fend for themselves.
A friend of mine on Facebook posted a link to a version of Shambala a bit ago. I can (and do) appreciate his posts, but for me there is only one version of Shambala. I say sorry Jimin my comment on Facebook, because Three Dog Night’s Shambala was part of an 8-track of hits that they played at the Wichita County swimming pool (Leoti, KS) in 1976 (had to be 76. Summer of the bicentennial. Cross-country bicyclers hanging in the city park. Crazy year) and I had just learned to swim a few summers previously. Swimming was my first love, and I say that as someone who just celebrated his 25th year of marriage, to someone I’m still deeply in love with; but even so, swimming remains my first love, a communion with nature itself for me.
Spending a carefree afternoon at the pool, eating icees and listening to music that wasn’t played anywhere else, as far as I could tell, was as close to pure joy that child me ever experienced. We waited for the pool to open, and for the weather to get warm enough that you didn’t freeze, and then every single day that I could get away, I’d ride my spyder down to the pool (got a ten speed later. Bicycling was my second love) and stay all day if I could get away with it.
In rural Kansas the only radio stations you could pick up reliably were country stations. I can listen to just about any kind of music, so Conway Twitty, Loretta Lynn, Merl Haggard and of course Johnny Cash (who was a ‘bad boy’ in my mother’s eyes if I remember correctly) figured highly in rotations for the stations that my parents tuned when I was a child, and I didn’t mind.
But the pool was supervised by high school students (with maybe a school coach checking in now and again) so the sound system they rigged up only played their music. The intro riff to Shambala plays, and I can smell the steam coming off the concrete decking, taste the ice cream, remember what it was like to be carefree.
It’s a weird coincidence that I remember the song at all. The other song that I remember them playing I rediscovered long ago; it had a catchy refrain about a shaker of salt, and while I couldn’t ever figure out what he wanted salt for (I was pretty sure at the time I was hearing it wrong, water in the ears or something) I did eventually discover the song was Margaritaville, and I have been a parrothead ever since.
The weird coincidence? I was watching LOST with the Wife. She had gotten me interested in the show, and it became a bit of a weekly ritual to catch each episode as it aired. It was a pretty good episode we were watching that night. Season 3, episode 11. You know the one, if you were a fan. The episode was largely focused on two of my favorite characters in the show, Charlie and Hurley. Hurley was certain he was cursed, that the numbers he used to win the lottery, the numbers that were on the hatch, those numbers had been a curse that had followed him and doomed him to this quasi-life he was experiencing on the island. Here is the crucial scene of the episode;
The song comes up, and the memory hits me like a blow to the head. THAT SONG! I remember that song! It was like a trip to the past, so powerful it brought tears to my eyes (it still can) mom and dad were still happy together, Gramma & Grampa still breathing and living just a few blocks away to save me if I needed saving. The world was bright and full of promise…
…That was my Shambala. That time when everything was perfect (even though it never could have been as perfect as you remember it) all of the people you knew caught like insects in amber and preserved to be revisited. Like a mid-season, mid-run episode for a series that ended up going nowhere, but damn it was good in those few seasons where there was still mystery to be explored.
Except you really can’t go back there, because it never really existed in the first place. The rot was already present, present from the time before I was even born. Rot just festering there, waiting to let everything tear apart. Now that I’ve started losing my hearing, even the song itself is a memory that I replay. I can’t really hear it like I did then, echoing off the hot concrete I would rest my head on to make my barely functioning sinuses open up and drain.
But the memory of the song is like a siren…
“Everyone is lucky, everyone is so kind, on the road to Shambala”
It’s kind of been done, with Serenity, but yeah as a series. Let me give you one broad statement about these recovery shows. In almost every case the cult around the show gets more intense and smaller as time goes by. Arrested Development was the rarest of birds in that the audience of the show grew larger than the original broadcast audience because people came to discover it years after it was cancelled. The Firefly fan is still the Firefly fan from when it was on TV and there’s fewer of them and they’re more passionate every year. Whereas with Arrested Development we’re going to be serving a multiple of the original audience. Any of the other shows we could bring back would be a fraction of the original audience.
Seriously? Perhaps The Stand deserves chance to be seen but Jericho? That series went nowhere after the first season, and I never need to see that again. Arrested Development? More people talk about that show than ever saw it or would sit down to watch it again.
But the Firefly fan base continues to grow, and that isn’t rocket science. Joss Whedon may not actually walk on water, but with the success of The Avengers under his belt (as well as Buffy) it’s hard to say he was wrong in creating Firefly and I can’t think of a better property that could be revisited given the chance. The problem isn’t Firefly, it’s Netflix. Imagine just for a minute that there were more than thirteen episodes to watch in the first place? It’s kinda like imagining that you could watch Babylon 5 as J.M. Straczynski first outlined it. What kind of show would that be?
The leadership at Netflix clearly lacks the imagination to create Science Fiction content on that level.
Facebook status backdated to the blog. They still don’t do SF on Netflix. Superheroes? Yes. SF, no.