Review: Prometheus (2012)

In 'Prometheus', director Ridley Scott revisits the SF horror territory of his breakout film, 'Alien', this time with a much bigger budget. Set before 'Alien', an exploration space ship travels to a desolate planet to search for an ancient civilization that contacted our human ancestors. Of course, in this sort of film, the explorers find something much more terrible and deadly on the planet.
The first half of the film is so-so but the plot goes off the rails in the second half. Some potentially interesting threads are presented then forgotten. A lot of the setting and twists do not make sense at all. The climax and its lead up are just ridiculous and arbitrary.
Even with fairly low expectations, this is a very disappointing film.
2 out of 5 stars.

Citizen of the Galaxy by Robert Heinlein (1957), Audio CD read by Lloyd James (2004)

'Citizen of the Galaxy' is one of many juvenile SF novels written by Robert Heinlein. It tells the story of a boy named Thorby. At the beginning of the novel, Thorby is a child slave on a feudal planet, who is bought by the beggar Baslim. Baslim becomes his surrogate father and teaches him the value of education and hard work. However, Baslim is more than a mere beggar and leads a mysterious second life. When the police arrest Baslim, Thorby flees the planet on a space freighter.

The early part of the story about Thorby's adventures with Baslim on the Arabian-Nights-like planet are moderately interesting. Once the boy begins his journey on the space freighter, the story grinds to a halt as Heinlein brain dumps his study of anthropology on the reader. Perhaps back in the 50s, the idea that there could be societies based on extended families was new and exotic but in this age of the multiculturalism, Heinlein's laborious explanation is tedious. At that point, I gave up continuing the story.

1 out of 5 stars.

Review: Westworld (1973)

Sometime in the future, people can act out their fantasies in resorts populated by human-like robots. Two vacationers, Peter Martin (Richard Benjamin) and his friend John Blane (James Brolin) holiday in the 'West World' theme park, where they get involved in wild west set pieces, including shoot-outs with a particular robot called the Gunslinger (Yul Brynner). Other vacationers go to other parts of the resort, 'Rome World' and 'Medieval World'. Of course, the robots go awry and decide to do away with the guests.

Writer-director Michael Crichton's cautionary tale about technology going bad is surprisingly clumsy at the start, given his prior experience as a film writer and director. There are slabs of dialogue between the vacationers explaining how the theme park and the robots work, followed by even more exposition between engineers as they try to figure out what is going wrong with the robots. One feels that Crichton strayed too far from the technology that he was familiar with because the technobabble is very vague and does not stand up to mild scrutiny.

Where he does well is to create a believable tone and setting on a very tight budget, with parts of the film reminiscent of 'The Andromeda Strain'. The blurred line between humans and robots is illustrated in one striking sequence, the night-time collection of the 'dead' robots by emotionless human technicians. The film also features some of the first CGI effects, showing the Gunslinger's point of view.

Yul Brynner, who has virtually no lines of dialogue, is the most memorable is the implacable Gunsligner. Dressed in a similar costume as his character Chris in 'The Magnificent Seven', Brynner simply dominates all his scenes. The chase through the deserted resort complex is one of the best ever made.

3 out of 5 stars.

Review: Dune (1984)

Adapting Frank Herbert's complex galaxy spanning novel to the big screen was never easy. Since the novel's publication, various film makers, including Ridley Scott, have had a go. This version, adapted and directed by David Lynch, charts Paul Atreides' rise to power as the foretold super human 'Kwisatz Haderach' and leader of the Fremen, the natives of the desert planet Arrakis. Arrayed against him are the traditional enemies of his family, the Harkonnens, the scheming Emperor Shaddam IV, the Guild Navigators who control interstellar flight, and the Bene Gesserit who seek to control Paul. All the parties have a common interest in the spice 'melange', which provide the power to fold space and time, and is only found on Arrakis.

The production is lavish and detailed, with huge sets and elaborate costumes. In this universe, humans are cogs in the machine of empire, genetically modified for computation (mentats), space travel (the whale-like Guild Navigators and their attendants with brain drips) or war (the Imperial Sardaukar soldiers encased in environment suits). Characters are often dwarfed by huge steam-belching machines or starships, giving the film a hellish Victorian industrial atmosphere.

A lot of the casting in the film is spot-on: Kyle MacLachlan's Paul believably matures from the son of a noble to a leader; Francesca Annis is radiant and elegant as Jessica; Siân Phillips is a domineering Bene Gesserit Reverend Mother; José Ferrer is the scheming but weak Emperor Shaddam IV; and Patrick Stewart, who has hardly any lines, is effective as Paul's mentor, Gurney Halleck. Most memorable is Kenneth McMillan as the repulsive and cruel Baron Vladimir Harkonnen, with his pustule-ravaged face and flying suit.

The film is overburdened by the sheer number of ideas in the novel and by the filmmakers, to the detriment of the story. There is an excess of explanation, from the initial voiceover by Princess Irulan (Virginia Madsen), to scenes where the characters discuss some background or detail which are followed by internal monologues from each character explaining what was just shown on screen! Perhaps, as a product of the early 80s, there was a concern that audiences wouldn't understand SF ideas unless it was explained to them two or three times (the initial release of 'Blade Runner' also had a voiceover). There is so much exposition that it isn't until halfway through the film that anything actually happens, following which, there is a sense of inevitability about the ending that drains the rest of the film of any surprise or suspense.

Maybe the initial cuts of the film, much longer, are better structured. There is no way of knowing since they were just work prints, nor is a director's cut available. After the film's initial release, a longer version was made for TV without David Lynch's involvement; that version is just unwatchable.

1 out of 5 stars.

Review: Impostor (2001)

In 2079, Earth has been losing a war with aliens from Alpha Centauri for 10 years. The success of the Centaurians and their ability to create human-like robots create a climate of fear and paranoia on Earth, leading to the establishment of a totalitarian regime headed by a Chancellor.

The film starts with physicist Dr. Spencer Oldham (Gary Sinise), a high-ranking scientist in a government weapons organisation, putting the final touches on a new weapon against the Centaurians, and the Chancellor due to pay a visit to the facility. Unexpectedly, Oldham is arrested by Major Hathaway (Vincent D'Onofrio), who accuses him of being a Centaurian robot created to assassinate the Chancellor. Oldham escapes from Hathaway, but cannot turn to either his wife Maya (Madeline Stowe) or his best friend Nelson (Tony Shalhoub) for help. Instead, he flees to a devastated part of the city, where he meets Cale (Mekhi Phifer), a drug dealer, who he convinces to help him find evidence to prove that he is not a Centaurian. Meanwhile, Hathaway has organised a massive manhunt for Oldham in the city.

A surprisingly high-powered team of writers, Scott Rosenberg, Ehren Kruger, David Twohy and Caroline Case, adapted the 1953 short story, 'Imposter' by Philip K. Dick, for the screen. Gary Sinise (who was also a producer) gives Olham's character more depth than a typical hero in an actioner. Maybe they are fans of PKD, because they have kept many elements of the short story, the back story and the themes of identity and paranoia, while embellishing it with just enough flash to appeal to mainstream audiences.

This is not an out-and-out great film, though. The back story is revealed clumsily and you have to tolerate the obligatory sex scene before the action starts. It also seems to suffer from a limited budget and bland production design that makes it look like a TV feature rather than a cinema release.

A solid SF thriller.

3 out of 5 stars.

Review: Torchwood Series 1 (2006)

'Torchwood' is an adult-oriented SF spin-off from 'Dr Who', featuring Captain Jack Harkness (John Barrowman), previously a recurring character in 'Dr Who', as the leader of a secret government organization of the title. In episode 1.1 'Everything Changes', we are introduced to Torchwood via Gwen Cooper (Eve Myles), a Cardiff police constable who tails the Torchwood team back to their base after an incident with an alien. She finds out that Cardiff is the centre of a rift in space and time, and the Torchwood unit in the city is assigned to monitor and deal with incidents related to that rift.

In line with the edgier premise of the series, there's a lot of violence, coarse language and sex scenes. Unfortunately, many of the early episodes seem to be little more than an excuse to draw a reaction from the audience. For instance, episode 1.2 'Day One' has the team tracking a sex alien and 1.7 'Greeks Bearing Gifts' has geek girl Toshiko Sato (Naoko Mori) in a girl-on-girl relationship with an alien. In addition, the team's doctor, Owen Harper (Burn Gorman), is bisexual, and Harkness is bedding Ianto Jones (Gareth David-Lloyd), the team's administrator. It is not until episode 1.9 'Random Shoes' that the series leaves behind its adolescent focus on sexuality and starts to, um, actually tell stories.

During the course of the series, various events foreshadow the arrival of something extra nasty out of the rift. These threads are played out in the final back-to-back episodes 1.12 'Captain Jack Harkness' and 1.13 'End of Days', where a spooky time-traveller Bilis Manger (Murray Melvin) is introduced. The climatic fight between Torchwood and the Big Bad, though, is underwhelming.

Not a good start to a new series, too much effort on adolescent sexuality and angst, and not enough on telling stories.

2 out of 5 stars.

Review: These are the Damned (1963)

Simon Wells (Macdonald Carey), a retired American executive holidaying in the tourist town of Weymouth, meets and becomes attracted to a young local girl, Joan (Shirley Anne Field), much to the displeasure of her older brother, King (Oliver Reed). King, the leader of a gang of punks, beats up Wells and tries to imprison his sister, but the couple escape in Well's boat. With the gang trailing them, the two lovers end up in a secret government installation and discover a terrible secret.

Made in 1961 but only released in 1963, this film quite blatantly exploits the public fear of nuclear war in that period (the Cuban missile crisis occurs in October 1962) and the collapse of the law and order, signified by King's gang openly roaming the streets of Weymouth with impunity, to justify the extreme actions of the government. Viewed away from that period, it's really a rather plodding film that takes a very, very long time to set the scene, overplays a very irritating song for the gang's call sign, includes an obligatory but unlikely romance between the leads, and casts Carey inappropriately as a middle-aged romantic lead. On the other hand, Oliver Reed makes a substantial presence as the well-dressed gang leader with a cane, quite possibly a precursor to Malcolm McDowell's Alex in 'A Clockwork Orange', and there are some fearful and gloomy scenes in the end.

1 out of 5 stars.

SF on Nine's Digital Go! channel

Channel Nine launched its second digital channel, Go! last Sunday (9 Aug 2009). It is pitched as an entertainment channel which I hope means that it will be possible to watch a series without it being rescheduled or interrupted by sport or other events.

Wednesday's schedule (named GO BEYOND) has three SF-themed series back-to-back: [the laboriously named] Terminator: The Sarah Connor Chronicles, Fringe (Rea G. should be pleased!) and Eleventh Hour. Nine screened the first episode of each series yesterday, so I guess it is repeating each of the series.

Review: Cowboy Bebop – The Movie (2001)

The crew of the spaceship Bebop, cowboys (bounty hunters) Spike Spiegel, Jet Black and Faye Valentine, and their companions computer hacker Edward and enhanced dog Ein, who previously appeared in a TV series that ran from 1998 to 1999, return for another adventure in this animated film. This time, an ex-soldier, Vincent Volajo, threatens to unleash a biological weapon to wipe out the people of Alpha, a Martian city. As the police and Spike hunt down Vincent, Spike meets Electra, an army investigator and Vincent's ex-lover.

The film takes place somewhere mid-series but the back story doesn't matter much, though newcomers might wonder why the future looks like a mashup of high-tech metropolises and the wild west. Director Shinichirô Watanabe has a bigger budget for this film than in the TV series, and the higher art, animation and production values are obvious. The fight sequences between Spike and Vincent are quite amazing without the motion capture technology available for later anime films. The series is well known for its strong jazz soundtrack, and in this film, the jazz-pop music by Yôko Kanno doesn't disappoint.

Too bad that the screenplay by Keiko Nobumoto, based on a story by Hajime Yatate, doesn't actually make sense. The film also suffers, just a little though, from the dreaded anime mid-film sag when characters ruminate on life in the most boring way possible for minutes.

For fans of the series, it's fun to watch the characters in action again.

3 out of 5 stars.

Review was originally published in Morva House.

Review: Sky Captain and The World of Tomorrow (2004)

In the 1930s, intrepid reporter Polly Perkins (Gwyneth Paltrow) and her former boyfriend Joe "Sky Captain" Sullivan (Jude Law) race around the world to foil the evil plans of Dr Totenkopf. They have to battle Totenkopf's robots and henchmen, and rescue Sky's gadgeteer mate Dex (Giovanni Ribisi) and a bunch of kidnapped scientists. On their mission, they get meet of some of Sullivan's old friends Kaji (Omid Djalili) and Franky (Angelina Jolie).

After a spectacular start with its impressive backlit cinematography and computer generated visuals inspired by "Metropolis", this film runs of out steam after Polly meets Sky Captain (which is pretty darn early) and crawls from action scene to action scene. The rudimentary adventure plot quickly disintegrates from too many holes, omissions and convenient escapes. For example, the journey to Nepal serves absolutely no purpose other than to provide some background on Totenkopf.

Jude Law is an appropriately square-jawed hero, Angelina Jolie provides a surprisingly plummy British accent, but Gwyneth Paltrow lacks the spark to be an enterprising journalist and looks too modern. Michael Gambon as Polly's editor vanishes after stating some obligatory concerns for his reporter's safety. Sir Laurence Olivier makes a short digitized appearance as Dr Totenkopf.

Special effects needing a plot.

Stars: 1 out of 5

Review originally published in Software Salariman.

Review: Avalon (2001)

Simon wondered what I thought of Avalon, and I sent him a quick reply. Here's a longer review with possible spoilers. Caveat: I watched Avalon on late night telly, so it might have been a less than engrossing experience compared to watching it in the cinema.

In a dreary and depressed city, people play a virtual combat game called Avalon to earn a living. One of the aces is Ash (Malgorzata Foremniak), a loner who lives with her Bassett hound (a recurring mark in director Oshii's films) in an small flat full of books. She finds out about an extra level in Avalon that can only be entered by defeating the Ghost. Initially reluctant, she joins an old team mate, Stunner (Bartlomiej Swiderski) and a mysterious Bishop (Dariusz Biskupski), in finding this Ghost.

Avalon is fairly dull and plodding. Director Mamuro Oshii overuses repetition in the first half of the film to suggest that Ash's world may be just a simulation. The central plot element of the film, the Avalon combat game, is devoid of tension and linear (defeat the grunts, then beat the boss). In the game, none of the actors look or move like players in fear of their (virtual) lives. The only standouts are the production design of the bleak city and cinematography.

0.5 out of 5 stars.

Review was originally published in Software Salariman.

Review: Strange Days (1995)

`Strange Days' chronicles the last two days of 1999 in Los Angeles. As the locals gear up for the new millenium, Lenny Nero (Ralph Fiennes) goes about his business of peddling erotic memory clips. He pines for his ex-girlfriend, Faith (Juliette Lewis), not noticing that another friend, Mace (Angela Bassett) really cares for him.

This film features good performances, impressive film-making technique and breath-taking crowd scenes. Director Kathryn Bigelow knows her stuff and does not hesitate to use it.

But as a whole, this is an unsatisfying movie. The problem is that the writers, James Cameron and Jay Cocks, were too ambitious, aiming for a film with social relevance, thrills, and drama. Not that ambitious film-making should be discouraged; just that when it fails to achieve its goals, it fails badly and obviously. The film just ends up preachy, unexciting and uninvolving.

Expectation: 4 out of 5. Enjoyment : 2 out of 5.

Review was originally published in newsgroup rec.arts.movies.reviews.