Science Fiction Archives - Page 5 Of 7

September 9, 2020September 9, 2020

“Dune” Trailer Review!

Like The Lord Of The Rings before it, Frank Herbert’s science-fiction epic Dune has long been considered “unfilmable”: too huge and complex to ever successfully translate to the big screen. But Peter Jackson achieved the impossible by bringing Tolkien’s masterpiece to life (and in turn, revolutionizing the fantasy genre in Hollywood), and it looks like director Denis Villeneuve will try to do the same for Dune, with a lot of help from his incredible cinematographer Greig Fraser and his all-star cast led by Timothée Chalamet.

Chalamet has made a name for himself in the indie and arthouse scene, and is one of the actors whose name routinely pops up during awards season: but Dune will mark his biggest role to date, as he steps into the shoes of futuristic messiah Paul Atreides, royal scion of House Atreides and heir to the throne of Arrakis, a remote desert planet rich with the resource known as Spice: a dangerous but powerful drug that pretty much everybody in the galaxy wants to get their hands on, either to use it (Spice plays a part in spiritualistic rituals and even interstellar travel) or to control it (due to its rarity, Spice is also extremely expensive and can be heavily taxed when it’s not being smuggled illegally out of Arrakis). Although it’s been a while since I’ve read Dune (it’s probably one of the most inaccessible books ever written), I remember most of the major story beats: Paul, whose entire life is built around a series of prophecies, sets off into Arrakis’ rugged, inhospitable deserts to try and unite the planet’s indigenous people, the Fremen, against the forces of his family’s sworn enemies, the tyrannical Harkonnens, when the latter clan arrives with the intention of conquering Arrakis and winning control of the Spice. At some point, I suppose I’ll have to reread the book, but that’s the general concept: from there, it gets bigger and bigger until it becomes a cautionary tale about ecological disaster (an issue it tackles head-on and spectacularly) and religion (an issue it tackles boldly but with less success, due to its reliance on tropes regarding indigenous cultures).

For most people, the image that comes to mind when they think Dune (assuming they know about the book at all, which might be rarer now than it would be in 1965, when the novel became an instant cult classic) is that of the terrifying Sandworms, gargantuan beasts that roam beneath the deserts of Arrakis and are worshiped as divine beings by the native Fremen. Appropriately, the first trailer for Villeneuve’s Dune holds off on the reveal of the Sandworms until the very end, when one suddenly erupts from the sand and rises over Paul. I love the new design: it looks awe-inspiring but also frightening in the best way possible. I would have maybe liked it to be a little bigger, but it’s possible that, like an iceberg, more of it is concealed beneath the sand than is visible above the surface.

The trailer intersperses scenes of desert warfare and high-tech weaponry with beautiful shots of Arrakis’ deserts and the already radiant cast: from Rebecca Ferguson to Zendaya to Jason Momoa to Oscar Isaac (and Oscar Issac’s impressive beard, which I count as an entire supporting character), there’s not an unattractive person on this planet. And Greig Fraser, Villeneuve’s cinematographer, has captured it all in the very best lighting with hazy, orange and blue overtones (orange and blue is a color combo proven to attract attention, and it never fails to do just that). Fraser’s job is made a lot easier by the fact that, canonically, Spice turns human eyes a vivid shade of blue. Visually, this trailer is nothing short of stunning.

With regards to the story, it will be interesting to see whether or not Villeneuve has streamlined the book’s plot dramatically or fixed some of its major problems, particularly….well, the entire plot, which isn’t a white savior narrative in the usual sense, but still “has many of the same discomfiting hallmarks that we see replicated again and again”, to quote from a recent, brilliantly-written breakdown of the book’s dealings with issues of race, gender and sexuality. Getting into that issue would require talking about spoilers for the book, so I’m not going to get into that conversation here, but suffice it to say that the Fremen (who, remember, are based off an amalgamation of various Native American, Middle Eastern and African cultures) and their interactions with Paul Atreides veer dangerously close to white saviorism for reasons that are not only difficult to explain, but downright disturbing. That’s why I’m hoping there’s just as much focus on the diverse supporting cast as there is on Paul: the Fremen, in particular, but also Paul’s mother (the sorceress/concubine Lady Jessica), and his love interest (the desert warrior Chani). Surprisingly, the trailer doesn’t give much screentime to Jessica (despite her being a major character in the books), but Chani’s role does seem to have been expanded – the trailer even starts with her meeting Paul in one of his prophetic dreams and the two exchanging a heartfelt kiss, before later reuniting in real life. There’s still no word on whether the villainous Baron Harkonnen will be depicted as he is in the books, as a grotesque, homophobic caricature who preys on younger men, but I have to hope that’s not the case.

But while it’s still too early to tell how similar Villeneuve’s Dune is to Frank Herbert’s original novel, it’s not too early to guess that this movie will generate a lot of conversation heading into next year’s awards season, thanks to the out-of-this-world special effects, cinematography, production design, direction and cast. Hopefully it generates just as much money at the box-office, but that will depend on how successfully it has updated its controversial and complicated story. In a year like 2020 (or, in fact, in any year), the last thing we need is a white savior.

Trailer Rating: 9.5/10

July 7, 2020

“Tron” Review!

Because of the recent news that the Tron franchise is apparently still a priority at Disney and plans for franchise-expanding sequels or reboots are still underway, I thought it might be interesting to take a circuitous stroll back down memory lane and revisit one of the strangest movies from what is often considered Disney’s Dark Age, in the early 1980’s. This era of the studio’s long and storied history isn’t known for producing a whole bunch of timeless classics (if there are any hardcore fans of The Black Cauldron out there, I’d love to know about them), nor box-office hits – but how do you even begin to describe Tron? The needlessly convoluted sci-fi adventure flick about glow-in-the-dark humanoid computer programs fighting to overthrow their tyrannical leadership doesn’t seem to fit neatly into any box, and so of course it has acquired a kind of well-earned cult classic status over the years – even leading to the creation of a poorly-received sequel in 2010 which, while not a box-office flop, failed to recapture much of what made the original film so…bizarrely endearing.

There are so many things wrong with Tron from a storytelling standpoint, and yet, despite quickly falling into the classic sci-fi/fantasy trap of trying to seduce the audience with incredibly complex world building instead of, you know, a particularly good story, or well developed characters (though, considering how badly the sequel’s attempts at character development went over, perhaps we weren’t missing anything anyway?), somehow it still works – or at the very least, it works about as well as a movie about warring sentient computer programs possibly could in 1982, at the very dawn of the age of special effects. Knowing some of the story about the cutting edge technology used to create the sprawling electronic landscape of The Grid (which, to the modern viewer’s eye, probably just resembles partly-completed digital artwork of Flatland) definitely helps to make the movie interesting from a cinephile’s point of view: its influence on CGI is far less well known than the influence of, say, The Little Mermaid on animation, but the two films are arguably comparable in terms of the lasting impact they made on the industry. The difference is that The Little Mermaid was a juggernaut that almost immediately birthed an unstoppable Disney renaissance – Tron was a financial disaster for the company that was snubbed at the Oscars for the Special Effects award it clearly deserved, apparently because Academy voters thought using computers was cheating.

That doesn’t make the work that went into designing Tron any less commendable, however. The film was born out of an idea to create a neon gladiator mascot for the fledgling Lisberger Studios, which felt that the character needed a starring vehicle to sell him to audiences and establish the studio’s brand – ironically, the cost of making the film became so high that Lisberger Studios had to turn to Disney for help with financing and marketing. In a classic case of studios being afraid to invest too heavily in something radically new, Disney allowed them to make the movie but decided not to give it the marketing push it also needed until too late in the game. Behind the scenes, the process of designing the world of Tron using rotoscoping and the even more grueling technique of backlit animation (which gives the movie its one-of-a-kind glow in the dark look) had to be fast-tracked to meet its release date, with director Steven Lisberger eventually having to hire a whole separate team of animators from Taiwan to ease the stress on his own employees. Miraculously, they managed to get the job done within nine months, a true credit to the power of teamwork.

But on its own, separated from its later impact and the behind-the-scenes work that went into it, just looking at the finished film as a whole: does it hold up? That’s a bit of a harder question to answer. As I said, Tron has a lot of story issues – the audience gets handed a whole bunch of information about the cyber world right up front, and is then expected to retain all that information for the next thirty minutes, while we watch the Real World storyline play out (which itself is pretty complicated). Then the Real World completely ceases to exist as far as the movie is concerned, and we’re plunged into The Grid, where computers wage brutal warfare against each other: highly ritualistic warfare involving motor-bike/smart car hybrids, but warfare nonetheless. There are solar sailers to be flown, beacons to be lit, and electric blue water to drink (I bring that up because there’s one scene of the main characters drinking said water that seems to go on for way longer than it probably needs to). It’s all very confusing.

Jeff Bridges and Bruce Boxleitner lead the cast of mostly identical white men trapped in glowing outfits with ridiculously oversized helmets, most of whom wield Frisbees to complete the look (a look which somehow warranted an Academy Award nomination for Best Costume Design). Bridges’ character, brilliant programmer and arcade video game champion Kevin Flynn, is supposedly the star of the movie, though there’s no good reason for why that is when Boxleitner’s character (dissatisfied ENCOM employee Allan Ward in the real world, legendary hero Tron on The Grid) has his name in the title, has just as much if not more plot agency than Bridges’, and actually is the clear male lead for the first thirty minutes of the movie. It’s like if Star Wars: A New Hope started out being about Luke Skywalker and then changed to become Han Solo’s story partway through (interestingly, there’s actually several similarities between Kevin Flynn and Han Solo, particularly in the sequel). David Warner gives the best performance in the film as the sinister E. Dillinger, President of the ENCOM company (in his Grid form as Sark, he comes off as a sad Darth Vader ripoff). As a side note: whenever Warner’s Dillinger was onscreen, I was constantly distracted by the nagging thought that, if Disney ever reboots this franchise, they absolutely need Ben Mendelsohn for this villainous role. Lora Baines (Cindy Morgan), the female lead, shows a lot of potential as a spunky scientist, but of course this is the 80’s, so it’s not long before she trades in her intelligent and pro-active role for the part of demure, soft-spoken damsel Yori. In keeping with the Hollywood tradition of rebooting classic franchises with the original male leads but conveniently forgetting to bring back the female leads, both versions of Morgan’s character were dropped for the sequel, despite her repeated efforts to try and contact Disney.

On the flip-side, two women played an integral role in giving Tron the eerie techno vibe we know and love: composer Wendy Carlos, an openly trans woman best known for her work on A Clockwork Orange and The Shining, collaborated with Annemarie Franklin on the score – parts of which, unfortunately, were removed by Disney and replaced with songs by Journey: the rock band’s contributions to the film were honored in the sequel via a slightly random use of the song “Separate Ways”. But Carlos’ iconic score is still a lasting testament, like all her work, to the often underappreciated achievements of trans people in the film industry.

I, for one, am glad that Tron will be getting another chance at proving its value to modern audiences: moviegoers (or, quite possibly, Disney+ subscribers) deserve a chance to see more stories from The Grid, told with the best new technology available to the studio, and longtime fans of the franchise deserve a continuation of a series that has been pretty much dead for a long time. We all deserve a little more Tron in our lives.

End of line.

Movie Rating: 7.8/10

June 22, 2020

“Foundation” First Trailer Review!

We’ve known for quite some time that Apple TV is planning to produce a massive, multi-season adaptation of the Foundation trilogy, one of the greatest works of science-fiction ever written and certainly Isaac Asimov’s magnum opus. But apparently they filmed a whole bunch of this series without me ever catching on, because suddenly there’s a Foundation trailer out for the first season today – and it looks brilliant, though also shockingly different from the books.

For one thing, the trailer definitely makes it seem as if we’ll be following one protagonist throughout the entirety of the first season at least: that protagonist being psychohistorian and biographer Gaal Dornick, who in the Foundation books is a very minor character whose only role in the story is essentially to introduce the reader to the actual protagonist, Hari Seldon. For the adaptation, it appears that Gaal (who has been gender-bent, and will be played by actress Lou Llobell) is going to stick around much longer, and probably have a crucial role in the story. Seldon himself, here played by Jared Harris, also seems to have a larger role than he does in the books.

But now for a little background on Foundation, for those who haven’t read the novels – and, to be clear, even I’ve only read the original trilogy: I know there’s prequels, and it appears the series is drawing some stuff from those, but I don’t know much about them so I won’t be referencing them. The story follows Hari Seldon, and later his team of talented intellectuals known as psychohistorians, as they attempt to save the universe from being plunged into a dark age that could last for up to 30,000 years – Seldon’s belief, based on his very accurate calculations, is that, while it would be impossible to prevent it entirely, he can “shorten the darkness”, to quote the trailer narration, to just one thousand years. The books quickly jump ahead, switching protagonists and time periods rapidly: in the first book, we also follow the journey of one Salvor Hardin (whom we see briefly in the trailer, played by Leah Harvey) who, years after Hari Seldon’s death, is tasked with protecting the First Foundation which was set up on the planet Terminus to subtly preserve Seldon’s original plan and prevent it from coming apart – and there are many threats to the plan over the course of the series, from telepathic mutants to bureaucratic politicians. Despite how large the story is, however, many of the heroes of the first book have only very vague characterizations, so I don’t mind the fact that the show is expanding on them – though it does confuse me why so many new characters have been included to fill out the cast.

Then again, even though I don’t know exactly who “Brother Day” is supposed to be – I’ve checked and double-checked: he’s not in the books, not even in the prequels – I do know that he’s played by Lee Pace, who is criminally underrated and definitely deserves another big role like this: he appears several times in the trailer, appears to be a villain, and, most importantly, isn’t hidden under any alien makeup (have I told you lately that it’s a travesty how Marvel costumed and designed his character Ronan the Accuser? No? Well then, here’s your reminder: it was a travesty). There’s also a “Brother Dawn” and “Brother Dusk” – the latter played by another actor I adore, Terrence Mann from Netflix’s Sense8. All three are described as being members of royalty vying for power in the Galactic Empire – in the books, the Empire is already collapsing when the story opens and its impending fall is what Hari Seldon believes will start the dark age: I’m sure Pace’s character and much of his supporting cast have been invented to give us a clearer idea of that.

The trailer, which is partly comprised of footage shot before coronavirus concerns shut down filming back in March and partly constructed from behind-the-scenes material and interviews with showrunner David Goyer, highlights the massive amounts of money that Apple TV have poured into this show. The production design looks incredible, and clearly borrows inspiration from Amazon Prime’s The Expanse, another major sci-fi series; the special effects are extraordinary and already look complete, despite the fact that Foundation doesn’t come out until next year; the level of detail put into everything is inspiring. All in all, while I’m slightly disappointed that I only definitely recognize one scene and less than a handful of characters from the books, I’m at the very least intrigued by what else the show has to offer. Their original content probably won’t ever match the deeply philosophical tone of Asimov’s writing, but if it can come remotely close, then I’ll be impressed.

Trailer Rating: 7.8/10

February 28, 2020

“The Clone Wars”: Season 7, Episode 2 Review!

The Clone Wars‘ final season has the unfortunate burden of having to start its thirteen-episode run with a story arc that was revealed to the public some years ago, before it was known that a seventh season would be developed to close out the hit TV series’ long and impressive tenure on the screen. The “Bad Batch” saga, which got off to an okay start in last week’s episode, doesn’t have the element of surprise going for it, and thus there’s very little for fans to talk about yet – though before long, we should get into uncharted territory with events like the Siege of Mandalore, and a retelling of the Jedi Purge through the eyes of characters like Ahsoka Tano.

But for now, we have to get through the “Bad Batch” arc. Thankfully, this second episode ups the ante and gives us a bit more action, as well as a welcome dose of drama, with small, quiet moments between characters allowing us more time and reason to sympathize with them and their individual plights – whether that’s Captain Rex (voiced by Dee Bradley Baker, as are all the Clone Troopers) covering up for his friend Anakin Skywalker (Matt Lanter) while the Jedi tries unsuccessfully to hide his relationship with his secret wife Padme Amidala (Catherine Taber), in what has to be the episode’s most touching and humorous moment; or something as small as the Bad Batch’s strongman Wrecker revealing, and then working past, his fear of heights. This episode has time to breathe, something that is hard to achieve in just twenty-four minutes, but which The Clone Wars used to excel at, in its heyday. I’m tentatively beginning to hope that may be the case with the rest of the season’s episodes, too, even once we get past this recycled material.

There’s still a surprising lack of action, even with two Separatist antagonists – Admiral Trench (Dee Bradley Baker) and Wat Tambor (Matthew Wood) standing in the Clones’ way as they break into the prison facilities on Skako Minor to try and rescue their long-lost Clone companion, Echo. As in last week’s episode, the sniper Crosshair is still the Bad Batch’s most visually-interesting character, and he gets a couple more opportunities to shine here, even single-handedly taking on a very random squad of dinosaur-flying aliens.

Aliens are a bit of a mixed bag in The Clone Wars: you get some really good ones, and then you get the ones who are usually described as “primitive” and whose exposition-heavy monologues have to be manually translated by other characters – a job that is best left to C-3PO, who at least gives his line-readings some sassy attitude. On the other hand, the use of translators does help to make the series more realistic, and adds a valuable lesson about linguistic diversity, so I’m not going to complain about this too much. I will, however, note that the aliens in this episode fall into the latter category, and, considering how little they do to advance the plot, I don’t think it’s an overstatement to say that the minutes we spend watching their conversations get translated could have been used in other areas of the episode, particularly the end.

Spoiler Warning, but Captain Rex and his band of Clones find their missing friend Echo at the very end of the episode, as we knew they would. He’s frostbitten and hooked into a device that’s been using his mind to power the Separatist war effort, but he’s still alive. His extremely brief reunion with Rex is the only part of the episode that feels rushed, or at least could have been fleshed out a little more. However, there will be plenty of time for the two to catch each other up on everything that’s happened in the next episode, which will likely see the squadron trying to escape from Skako Minor.

What did you think of the episode? Are you enjoying the Bad Batch arc, or are you ready to move on? Share your own thoughts, theories and opinions in the comments below!

Episode Rating: 7/10