Sunday, October 8, 2017

God's Lonely Replicant: Blade Runner 2049


SPOILERS - YES!

Blade Runner (1982) moves at a slow pace through its perfectly established film noir construct, but the story carries a sense of brooding, ominous dread that makes this hour-and-fifty-seven-minute a compelling experience throughout. This gripping, ominous dread comes primarily from the performance of Rutger Hauer as Roy Batty, the advanced model synthetic human who strives to be a real human, and the film’s dark, congested setting,

Blade Runner 2049 (2017), however, strolls along throughout its two hours and forty-five minutes without much that I found very compelling. Sure, there is mystery, but the mystery seems nothing newer than the questions established in the original film, and I felt no sense of ominous dread.

I love science fiction films, so I tend to be lenient in my critique of flawed sci-fi films that I like, but I felt little enthusiasm for this film beyond its visuals. The opening sequence in the desert establishes the mood and K’s character well. Then K flies over the low-lying outskirts of the metropolis, and as the buildings get taller, I felt a modicum of thrill, but then the high-rise cityscape is not nearly as dazzling or interesting as the city in the original. I loved Joi, K’s holo-girl friend, and I was very sorry that she gets deleted. In my favorite scene in the film, Joi melds her image with a prostitute’s body so that K can imagine holding and kissing Joi as though she were a real girl.

I get the heady philosophical questions posed by the film, but none of them seem any more compelling than the original film’s rather basic quandary: if you have feelings, are you real? The whole Pinocchio syndrome works well in the original film. We especially feel Roy Batty’s urge to live and be a real boy.

In 2049, this paradigm is inherent in the story as K, a synthetic programmed for obedience, searches for Deckard and Deckard’s mysterious offspring. Ooh, ah, is K a sci-fi Ethan Edwards on an existential search - God's lonely replicant? Okay, that's cool, but lets get down to some compelling obsession or lust for vengeance. Instead, the conflict seems flat. Where are the shocking revelations? This slow, tedious search seems directed toward the same questions we already know.

In the end, nothing happens with the revelation of Deckard’s daughter, even though there is an underground movement of replicants raring for rebellion. Unfortunately, rebellion never comes. Instead, we arrive at a flat climax. Deckard had a daughter, and K finds her.

Rachael gave birth to a daughter? How? Well, I guess that makes her as real as robots can get though I guess if Tyrell can create Roy to be the strong, emotional, philosophical being he is, then I suppose he can create a female synthetic who can get pregnant. The technology can be pushed to the limit; it's all fictional.

Meanwhile, not much is done with this premise, and it’s not very compelling – nothing more than the whole belabored question about the point at which a synthetic being becomes human (even though the answer seems simple: no matter how real technology gets, it’s still technology and not human). I guess you can go a step further - if you accept Rachael as human, then I guess you don't believe in God, so what's the worry about a soul? In a sense, perhaps we are all soulless fabrications.

Yep, I get all the great questions posed by this film but, even though I love to worship at the altar of Denis Villeneuve and Roger Deakins, I guess I need a film to be more than just a thought experiment.

Sunday, May 21, 2017

The Alien Saga - Favorite Moments

From Alien (1979)

When the landing party sights the alien ship, you know you are in for a different sort of ride.


"Look, Ma, no CGI!" It was a shocking, gory, visceral surprise! One of the best moments in cinematic history.


"Here, Kitty, Kitty."

"A perfect organism."

From Aliens (1986)

"Oh, man, we're really fucked!" Bill Paxton's most famous line.


When the huge Xenomorph rises up behind Newt - you get a full view of this "perfect organism.


When Ripley goes back alone for Newt - one of the most gripping moments in film. She loads herself down with weapons. She takes a deep breath, exhales, shakes off the tension - and now she is in the zone!


Alien 3 (1992)

Up close and personal! An iconic image:


Alien Resurrection (1997)

Winona Ryder as the android with a license to kill - Xenomorphs.


Xenomorphs can swim underwater! One of my all-time favorite Alien images:


From Prometheus (2012)

"The trick, William Potter, is not minding that it hurts." David the synthetic human (Michael Fassbender)alludes to Lawrence of Arabia and styles his hair after T.E. Lawrence. "Big things have small beginnings." Fassbender as David is one of the most awesome things about this film.


The Medpod operation - one of the most gruesome and gripping scenes in all six Alien movies.


The Xenomorph's evolution. Here, a gigantic, rather impractical face-hugger. Future modifications to come!


Alien: Covenant (2017)

A new "David" in a Kubrickian world:

"

The Engineers' planet:


All hell breaks loose on the landing shuttle. This is a wild, fast-paced, violent scene that provides a gripping turning point in the film.


Ooh! Aah! The Engineers got fucked by their own creation.


The Xenomorph - our favorite Alien - continues to evolve. Here it displays its signature aggression, tenacity, and downright meanness!












Saturday, February 25, 2017

The 89th Academy Awards – Oscars Live Feed - La La Land Awards Watch


LIVE FEED STARTS AT 8:30 EST. All times noted will be EST. Don't forget to REFRESH the feed. Also, feel free to post comments. I will respond to comments on the post. (See below for an explanation of my mission.)

Getting close to curtain time!

8:24: Emma Stone says, "Just keep going" in pursuing your dreams.

8:30: Good start! Justin Timberlake sings "Can't Stop the Feeling" all through the theater.

8:46: Finally - first award. No chance for La La Land in this category. I was saying earlier that often musicals have colorful supporting characters, but not in La La. Best Supporting Actor . . . and the winner is Mahershala Ali. MOONLIGHT: 1 LA LA LAND: 0.

8:52: Suicide Squad gets it for Makeup. In your face, La La Land! Oh, sorry, it wasn't nominated.

Uh, oh, the Costume Award. Some competition here. And the winner is . . . Fantastic Beasts. Sweet! Thank you, Harry and Hermione, for this magic trick. La La Land is now down two (since it's going against itself in Best Song).

9:04: Okay, it's the wristwatch montage.

9:10: Best Documentary - I have met Owen Suskind, the subject of Life: Animated. Darn, it didn't win! Then, again, neither did La La Land.

9:26: Uh, oh, Sound Editing and Mixing. Know which is which? Editing creates the sound. Mixing adds it. Arrival I hope!

Yes, Arrival gets it! La La Land is down three. It must win 11 to make the record. Not a chance! Feeling good! I like how, so far, there has been no sweep. Arrival deserved something.

And Hacksaw Ridge gets something too. Mel is happy.

9:33: We are in the clear! La La Land can only win 10, and it's not likely to do that. I kind of feel bad. Not really. But with the spread of Oscar winners - does that mean Moonlight or Manchester has a chance for Best Picture? Exciting!

This also means my job is done! Goodnight! Naw, I'll hang in there a while longer.

9:41: Best Supporting Actress - and the winner is . . . Viola Davis. Good one! Passionate acceptance speech. Good actress!

9:57: Best Foreign Film goes to The Salesman. Protest speech from the director! Good one. How long will it take for a Trump Tweet?

10:10: Piper wins for Best Animated Short - I saw it, but I have to say the clips from the other nominees looked better than Piper was.

Best Animated Feature - I saw them all - and I loved Zootopia but it will be nice one day when a small studio wins in this category. I feel bad for Kubo.

Ooh! "Fear of the Other" mentioned in acceptance speech. Wow, I taught that as reflected in 50s films in Film History at my former school where Film History no longer exists.

Production Design goes to La La Land. Oh, well. Lots of competition here - but Allied deserved it for creating Casablanca in the 1940s, and it wasn't even nominated.

10:19: So, you're taking a tour of the Kodak Theater while the Oscars are going on and you're taken backstage and you think you're not going to end up in the theater for a gag? Not likely.

10:26: Okay, Special Effects - Felicity Jones is cute - I love her - and The Jungle Book gets it, deservedly, though I guess it's Disney and they've got the best of the best. Thought for a minute that Kubo might get it.

10:36: Film Editing - thought we did this one. Oh, well - Hacksaw Ridge slips in another surprise of the evening. Thought for sure it would be La La Land or Arrival. Man, and I was worried La La Land would sweep the Oscars.

10:58: All right, Cinematography - this is what film is all about and we have images of an alien spacecraft and Japan in the 1500s and crowd scenes in India and the touching swimming scene in Moonlight and the Oscar goes to La La Land with images that are 95% digital effects.

11:09: Ah, snooze, a song from La La Land. Don't know if I'm going to make it much longer. Bed sounds good. No worries about La La Land hitting the record, so my job is done.

11:15: Yeah, now it starts. La La Land scores for Score. I love musical scores - and I can't think of one memorable score this year. No Mad Max: Fury Road this year,

Best Song - La La Land wins one, loses the other.

WTF! - "I was educated in a public school where arts and music are valued." Yeah, right, if the school gets enough funding! Otherwise, not. And I guess private schools don't value arts - so that's why I directed 28 full-length stage productions.

11:30: Okay, the Matt Damon roasting was fun. Manchester takes Best Original Screenplay. Nice achievement!

11:33: Amy Adams and her boobs announce nominees for Best Adapted and the winner is Moonlight I predict . . .

11:34: . . . and I'm right!

And the Best Director (shown below directing a tense zombie sequence):


11:51: Casey Affleck wins Best Actor! Bravo!

11:54: Best Actress: will it be "the crack whore" (according to an unwanted Tweeter), I mean, Emma Stone? Yes, it is. Uh, like, kind of overrated, I think.

Do I need stay up for Best Picture?

And the winner is . . . could it be a surprise?

Yes, it is. Moonlight wins, deservedly, but not until after the Emma Stone - Best Actress/Faye Dunaway Flub. Warren Beatty opens the envelope. He looks puzzled or maybe it's just senility. He looks in the envelope for another card. Looks like he's toying with the contestants. Faye takes the card. Reading skills! She doesn't call anyone over to explain what the Emma Stone card might mean. She announces La La Land - which would be anyone's best guess based on the Best Director win. But Price Waterhouse screwed up big-time.

Moonlight wins Best Picture.



***************************************************************************************************

The nominations are all over La La Land even though I don’t know how popular it was with viewers. Viewers liked it – okay. I was underwhelmed. No catchy songs – and the songs didn’t elicit much emotion. Not much story – and what story there is has been told multiple times: young persons pursue their dreams in Hollywood, fall in love, one makes it, the other makes it so-so.

So why has this film been so popular with critics and the Academy?

1. It’s called La La Land and it’s about Hollywood.

2. It’s a musical. People in a traffic-jam burst into a sprightly dance number. Emma Stone swishes her dress as she embarks on a girls’ night out on the town with her roomies.

3. Trump got us all depressed. Then along came La La Land to cheer us up, and musicals are inherently cheerful.

So here’s my prediction: La La Land will win Best Picture, and I’m fine with that. It’s a done deal – unless this year’s awards turn out to be as surprising as the recent Super Bowl. I expect it to win. I enjoyed the other films nominated for Best Picture but I’m not passionate about any of them. I think Moonlight is the best-made film of the lot – the artistic and touching indie – but I’m not passionate about it.

Again, I don’t care if La La wins Best Picture and a bunch of other awards it doesn’t really deserve.

I just don’t want it to win 11 awards to tie the record or, horrors, surpass the record! I don’t want it to tie Ben-Hur and Titanic for most Oscars won: 11. (Yeah, yeah, that includes Return of the King too, but that was more of an installment or episode – part of a masterpiece trilogy that deserved some sort of award.) Beyond the fact that Ben-Hur has the unsurpassed chariot race and Titanic has the masterful sinking of the great ship - oh, and Kate Winslet in the drawing scene, let’s not get into why I don’t want La La to win 11 or 12. Let’s move on.

If you care about this, the situation is very dicey!

Here’s the deal - La La is nominated for 14 awards. Yikes! This makes me nervous – but wait! It can’t win 14 because it’s competing against itself for Best Song. It could win 13, but that won’t happen. Gosling won’t take Best Actor against Affleck or Denzel. That bumps it down to 12. It must lose two more! I predict, I hope, it will not win for Best Original Screenplay. Voters might want to honor Manchester By the Sea. That cuts it down to 11.

Oh, shit! One more! It must lose one more!

It does not deserve Best Cinematography - there's Silence and Arrival, but when the Academy voters latch onto a favorite they vote without imagination and they fall into sweep fever – give it all to the favorite! Or, Justin Timberlake could come through for us and take Best Song for "Can't Stop the Feeling" - the kind of catchy song La La needed. Could Meryl Streep's outlandish costume for Florence Foster Jenkins choke the competition? Could the Force be with us so that Rogue One gets it for Sound Mixing? Unfortunately, Allied - which created multiple blocks of Casablanca and London in the 1940s - is not nominated for Production Design.

In the spirit of meaningless pursuits – at a time when such trivial diversions are crucial for maintaining one's sanity during the current administration in Washington - join me for a Live Feed La La Land Watch this Sunday, February 26, at 8:30 EST (at 5:30 out there in La La Land).

(Once the winners start being announced – be sure to refresh this feed for updates.)

Tuesday, November 15, 2016

Hannah – Past or Future? – The Non-linear Time Paradox in Arrival


BEWARE! BIG SPOILERS! THIS DISCUSSES THE ENDING!

How refreshing it is to watch a well-made film that makes you think and compels you to view it again – which I did, and I plan to see it again. Arrival is the kind of film that stimulates examination and discussion – and one question I wonder about is whether Hannah is born BA (before the aliens arrive) or AA (after aliens).

Just about all the websites, YouTube videos, reviews, and chatlines I consulted say – and rather bluntly as though you’re an idiot if you think otherwise – Hannah is born AA – period – or, PERIOD!, as some posts put it. If we go with AA, then the opening scenes involving Hannah are presented out of sequence, which is kind of a gimmicky trick that cheats the audience into accepting, as most viewers would accept, that a depressed women seeing her young daughter is having flashbacks – not flashforwards.

Most of these sites that I consulted start with, “That’s the way it is in short story.” But this is not a strong argument because, we know, filmmakers love to adapt and “re-envision” their source material – often to the outrage of readers faithful to the source material. At least, filmmakers may not change the source radically, but they love to inject ambiguity. In my film course, I had young students who hated ambiguity. I love it!

For this film, ambiguity is all in keeping with the non-linear time paradox that is part of heptapodese – also in keeping with palindromic nature of Hannah’s name – which can also be read the same way backwards as follows: hannaH. Ooh, ah!

I have no problem placing Hannah’s life – from birth to premature death – AA or BA. I suppose AA needs no argument here since that’s “the way it is in the short story”! Also, toward the end of the film, it seems that Louise is learning that she can time-shift as part of comprehending heptapodese. Still, if we go with BA, Louise gets to time-shift when she goes ahead to the book-release party and she gets General Chiang’s phone number so she can call him in the film’s present and tell him his wife’s dying words – which prevents the Human-Alien War.

Still, still, if we go with BA, Louise also gets to use her new talent to shift into the PAST to answer her daughter’s question: “Zero-sum game.” She is also able to shift into the past and tell her husband that she knows Hannah is going to die prematurely. “I told him something he wasn’t ready to hear.” Also, also, alien time-shift vibes seem to have affected Hannah who draws the picture of Mommy and Daddy with the caged bird – which will happen in the future – which suggests that Ian – or a different scientist guy – is Hannah’s father.

Of course, it at first SEEMS clear that Ian is not Hannah’s father – he’s the father of a second child - because when Ian and Louise meet they don’t ACT LIKE they know each other, and references are made to Louise’s life BA as though he was not part of it: “I didn’t know you were married,” says Ian. “I just realized why my husband left me,” says Louise. But I think the filmmakers are being coy here. I think they are throwing in more ambiguity on top of the film’s mind-bending sci-fi premise – if you go total immersion with heptapodese, you will be able to time shift - because –

if we accept that Ian is not Hannah’s father BA, then why the hell does he say – in the scene in which Ian and Louise watch the alien shell disintegrate and then embrace – “Do you want to make a baby?” Wow, this is pretty familiar! Sounds more like something a formerly estranged ex-husband might say to his ex-wife after a bonding experience. This does not sound like what a guy would say to a woman before he’s even gone out on a date! They haven’t even kissed yet! Also, when they embrace, Louise says, “I forgot how good it felt to hold you.” Did I hear this wrong? Accepting Ian as Hannah’s father BA does not rob the film of its question regarding "would you still have your child if you knew she was going to die prematurely." AA, Ian and Louise may still have to face this dilemma.

None of this discussion is meant as criticism of the film. I love it. As a teacher of ESL, I loved their efforts to find a way to comprehend alien speakers and make communication as easy as possible. I love that the “weapon” is language! But I feel there are some loose ends – which I hope are not loose ends but intentional elements of ambiguity and paradox – because ambiguity and paradox are what the film is about in many ways.

Tuesday, August 23, 2016

Ben-Hur for Dummies


I would confidently wager money that the new Ben-Hur contains a greater percentage of dialogue for its little-over-an-hour running time than the 1959er has for its plus-three-hour length. That is one of this film's many downfalls. All that talk slows down the action as the film spends more time telling than showing. Hell, even Jesus talks, whereas, in the William Wyler film Jesus says nothing, we never see his face, and the result is more mystery. On top of that, the film opens with one of the worst usages of voiceover narration I've experienced in a long time as Morgan Freeman explains things about the Roman Empire that most viewers could intuit as well as backstory about the relationship between Ben-Hur and his Roman friend, Messala, that the film should be showing us through action.

I enjoyed the new film's authentic locations and some of its reinventions. For the most part, however, the twists, indeed, the contortions, made to the classic plot line, steered by Christian producers going for a one hundred percent feel-good story, rob the film of drama and any sort of visceral seriousness.

SPOILERS - The Changes:

Morgan Freeman narrates.

The tile does not fall - an element that is integral and thematic to the story. The arriving governor is not injured. B-H is not condemned for a fateful accident!

Messala is a conflicted character who feels forced to condemn B-H. He is not the wonderfully corrupted Messala played by Stephen Boyd.

Quintus Arrius harangues the rowers and dies in the battle. B-H does not save him so that Quintus can adopt him, get him pardoned, and make him a wealthy man of power who is posed to seek his vengeance Count of Monte Cristo-style.

The leper story is not developed. We just learn that mother and daughter are incarcerated somewhere - looks like they have been lying on a cot for seven years - and it's not clear what disease they have. Very rapidly and without any drama, they are cured by a trickle of rainwater coming through the roof and the Sheik (Freeman) buys their freedom. "I'll take them."

Jesus talks and appears more - but his death is less visceral.

Interesting, the film includes a scene in the garden where Jesus is betrayed - and this is in the novel - but B-H is not present, running from the Romans, as he does in the novel.

And, most disappointingly, B-H and M forgive each other, and M does not die - though he loses a leg. It's all a big happy, hugging family at the end, traveling along with Freeman's caravan. And M rides off into the sunset with B-H - and what's this? Indeed, M has grown a new leg. Miracle!


Tuesday, July 26, 2016

Ben-Hur - The Classics Illustrated Comic


This Classics Illustrated version of the novel, published in 1958, includes all the iconic moments. It all starts with that darn tile falling. "That tile is still falling," Esther says in the 59er movie. Caused a lot of problems!


For not fixing his roof, gets Ben-Hur sent off to row with the slaves in a Roman galley. "Ramming speed!" "Your eyes are full of hate, forty-one!" Here is a curious case of a blatant anachronism (Romans didn't use galley slaves - what were you thinking, Lew?) turning into an iconic episode in the novel as well as in the film versions.


Then there's Jesus, looking like he belongs in a Christian fundamentalist brochure. He gives Ben-Hur that symbolic drink of water that Ben-Hur will attempt to repay at the end of the story. As Ben-Hur's conflicts play out, Jesus is headed toward his fated climax. Ben-Hur's life parallels that of Jesus. Both are the same age. While Ben-Hur seeks vengeance, Jesus preaches forgiveness.

The 59er film does a great job of presenting Jesus without showing his face. His face - that subdues a Roman soldier going to interrupt Ben-Hur's refreshing drink - are left to our imagination. Unfortunately, the mini-series casts as Jesus someone who looks like Graham Chapman in Life of Brian. The mini-series downplays the drama of the Crucifixion and the miracle while the 59er goes for visual spectacle, blood, and a tumultuous storm and earthquake during the culminating miracle.

Influenced by Gibbon's The Decline and Fall of the Roman Empire, all things Roman constituted an ongoing fad throughout the Victorian Era. Lew Wallace's novel appealed to that fad, and readers must have been thrilled with his description of the chariot race, the action scene that would epitomize the films. The Classics Illustrated Comic images evoke the speed and violence of that scene.


The comic is not a movie spin-off. It is all about the novel. As do all Classics Illustrated editions, it ends with the following plug:" Now that you have read the Classics Illustrated edition, don't miss the added enjoyment of reading the original, obtainable at your school or public library."

Indeed, as a boy, I did just that. It took patience getting through Wallace's detailed travelogue-style commentary and his descriptions of architecture and the culture of ancient Rome and the Hold Land, but the central conflict is always compelling. Now wonder Ben-Hur has been made into a spectacular stage play, a feature silent film, a sound film that won eleven Oscars, a British mini-series, and now an epic remake! It's a great story that explores the themes of vengeance, hope, forgiveness, and the importance of family.