Tag Archives: sci-fi

Resident Evil: Extinction

2 Replies

Resident Evil is one of those movies that has zombies in it. Resident Evil: Extinction, being a sequel, also has zombies in it. Therefore, I can be expected to like it. (In some things, I am pretty predictable. For what it’s worth, though, Redneck Zombies was not very good.) Despite that, I think that this movie was not only a decent action-horror piece, but that it furthermore surpassed that apparent goal. Not enough to say it’s great and everyone should see it, but how many movies surpass even modest quality goals that they set for themselves?

So, Milla Jovovich is once more wandering, sporadically nudely, through a zombie-infested nightmare unleashed by the multi-national Umbrella Corporation. Except it’s been a few years since this all started, and said nightmare is now a globe-spanning concern. Also, I guess it affected the weather or something, because the majority of the planet has dried up into desert. Although, let’s be honest, the real reason for this is what Mad Max taught us decades ago: deserts and apocalypses go together like Milla Jovovich and being naked. Faced with the twin horrors of zombification and global warming, the human race has pretty well called it quits, aside from roving bands of heavily armed warriors out on the roads, if you know what I mean. And there’s Milla, trying to work out how to proceed, discovering some new talents, and finding out that Umbrella isn’t quite done with her yet. As fans of the series are already aware, this is the kind of thing that (naked or not) she really doesn’t take lying down.

As a result, you have reasonably decent special effects, more action than you can shake a pointed stick at, everything you’ve come to expect out of a zombie movie[1], and the best girl-fighting scenes this side of Summer Glau. Like I said, when taken across the scope of all 2007 cinema, these are fairly modest aspirations to meet. So that’s cool that they do so, and you end up with what you wanted: a good action-horror flick. Now, stay with me, because you’ll find this next part hard to believe, but I maintain that’s it’s true.

This volume of the Resident Evil series also has a meaningful theme. See, Alice[2] is stuck in a holding pattern. She’s free of Umbrella, sure, but the world keeps getting worse and being free isn’t really all that great when you’ve got a dying planet as your only “on the outside” option. The majority of the movie is her quest to break out of that holding pattern and find a way to make things different than they are. Which sounds all fine, but I could just be reading it in, right? Except, I’m not, because every Umbrella scene has brought us full circle back to the original events of the outbreak. Same spooky mansion. Same giant underground complex. Same AI attempting to orchestrate events. Everything Umbrella stands for in this movie and every action Alice takes in response to the external stimulus of her doomed earth are the visual representations of the spiritual struggle happening in Alice’s psyche: until she faces the past in an almost literal fashion, she’s not going to be able to break the chains of the present and get a move on towards a future in which maybe humanity won’t be extinct after all.

See? Not only theme, but below-the-surface theme. Despite having moved well beyond the game franchise’s rails (or, more likely, because of this), these movies remain the best video game adaptations on the market, and by a fair margin. Also, and I may have forgotten to mention this, but sometimes Milla Jovovich takes her clothes off.

[1] That one guy who gets bitten but doesn’t tell anyone so that he can end up turning at the least opportune moment, the annoying people who are more dangerous to their fellow humans than the zombie plague, etc.
[2] This is the name the movie uses to refer to naked Milla Jovovich. Well, also clothed Milla Jovovich.

Sunshine (2007)

Sunshine is the kind of movie you see in Austin, or the San Francisco Bay Area, or maybe Vancouver. It’s got the art film look, but with the science fiction sensibilities to ground the plot from wandering as randomly as one expects from art films. Or, if you prefer, it’s a science fiction movie but without being constantly dank, dripping, and gloomy, nor impossibly pristine and modern, due to its latent art film sensibilities. In any case, it just feels more right to watch it in one of those places that is obsessed with both how movies look and whether they make a good story instead of just one (L.A.) or the other (Pittsburgh or New Jersey). Now that I’ve gotten my cinematic biases on the record, there’s also this movie to talk about.

In the future: the sun is getting dim, and humanity is unlikely to survive the worsening problem. Six years ago (let’s say), the Icarus was launched with a devastatingly vast nuclear payload and a mission to launch that payload into the sun in order to restart it. (This may or may not be based in science, and failures of adequate explanation may or may not be mine; but I don’t remember the movie going into details. They were not necessary to my enjoyment, in any case.) Except, the sun stayed relatively dark and nobody ever heard anything from them ever again. Now, it is the future-present, and the Icarus II is en route with a second vast nuclear payload that comprises the end of the earth’s capacity for creating sun-restarting bombs. Eight astronauts have the future of the species in their hands, and they are just entering the 16 months of interference-enforced radio silence as the tale opens.

I could ask you plot-leading questions that would reveal a little more of the story, but why bother? Either you’re into science-fictiony isolation stories or you’re not, and spoilers will not help to answer that question. The high points were how pretty it was and how tense it was. The low points were that the climactic scenes were just a touch clichéd (or possibly overdramatic instead; but not both) and also dove a little too far into metaphor for my personal taste. But nothing like how things went in Solaris. If anything, Sunshine redeemed the isolated spaceship drama for me, so don’t worry on that count. (And if you liked Solaris-the-film… really? Really?)

Spider-Man 3

1 Reply

Well, it’s summer now. There is an extent to which I feel like summer comes too soon, since there are no longer any good movies left by August. Nevertheless, I can only observe the status of these things, not correct them. I am like a groundhog for movies! (Except my job’s easier; summer never doesn’t come.) My point, of course, is this: midnight showing of Spider-Man 3, from which I am still reeling. I mean, I’m not talking about the movie yet; it’s just, I got five hours of sleep the night before due to seeing a musical on stage, and then I got something like four hours last night, but (and here’s the secret to making it extra awesome!) split into two parts. So if I’m incoherent, a) pretend like this is unusual and then b) blame it on my non-functioning brain.[2]

Let’s get the easy part out of the way. It was good. I regret the lack of sleep only on an intellectual level, and I’m quite sure I’ll go see it again. I might not do so without the IMAX draw, but only because of how little time I have relative to the number of movies I want to see right now. So, yeah, good. Probably won’t be the best movie of the summer, though. People[1] will tell you it was bloated both in time and number of plots. I don’t agree with that, because each and every one of the plots was personal to Peter Parker. Maybe they didn’t need to all occur at once, but neither were they arbitrary, and it all hung together as far as I could tell. Also, the action lived up to the previous movies.

Plus, plenty of meaty themes to sink your teeth into. For example: Good or evil isn’t who you are, it’s what you do. I can find shades of that in every single major male character. The part where the females are pretty much uni-dimensional cardboard is probably a trope of the genre, but it’s unfortunate nevertheless. They stand out only because of the comparison, though. Also present, and painful to watch, is the pride goeth before a fall theme. Because you can pretty well see each part of it coming, and Peter so obviously can’t, and you just want to grab him and shake him and explain how easy it would be to dodge most of this. Except he’s still a kid, and kids are supposed to make mistakes, and I’m not even sure grown-up Spider-Man would be of any interest. Anyway, I think it’s fair to say that it’s also as deep as the previous movies.

So why won’t it be the best movie this summer? Because it has a couple of stumbles and one major failure. For one thing, there’s an extraneous character; for the amount that Gwen Stacey added to the plot, she either should have had more to do or had her purposes rolled into Betty Brant and the character saved for use in a future sequel. For another, there’s a scene with a butler late in the movie (don’t worry; he didn’t do it) that was a clumsy plot bridge and terribly acted by said butler. The former is the more egregious crime, of course, but the latter made the former stand out in stark relief. But the big failure was the lack of an iconic moment. You have the New Yorkers on the bridge in the first movie, and Spidey on the train in the second one; you can’t make the conclusion of the trilogy be great without exceeding or at least matching one of these. And it just… didn’t. As much as I liked the movie, I’m not going to end up loving it, and that’s the only good reason why not.

[1] and by people, I mean critics; apparently I am one of those, now? Or maybe it requires a paycheck. I have yet to receive a penny, much less break even on domain registration, though, so I don’t count as that. And if I was paying for the hosting, it would be even worse.
[2] Also, I can kill you with my brain.[3]
[3] For reasons of my own!

Creature from the Black Lagoon

And herein lies the beauty of the double feature. Two movies in a row. The thing is, I really, really enjoy the cinematic experience. It’s like a double-header to baseball fanatics. (Although I’m not one, I certainly like those too.) Unless baseball people think that double-headers are somehow impure? Well, if they do: whatev. It’s just, there I’ll be, watching the credits go by, when suddenly I don’t have to leave and go home, because, another movie! It’s possible I’ve explained this sufficiently, though.

Creature from the Black Lagoon is about this, well, this creature, right? It lives along the Amazon, at a place that the natives call the Black Lagoon, for reasons that are not entirely clear to me. Black and white film makes some things non-obvious, water color among them. But I don’t remember any of the characters discussing anything being all that black. Anyhow, this so-called creature is kind of an amphibious fishman, who is among other things a perfect segue for the whole evolution discussion. It is amusing to me that the film so casually asserts that God created everything via evolution, yet it is so hard fifty years later to find people willing to take a look at that compromise position.

Besides evolution, though, this movie was about a lot of things. Underwater photography, for one. If you removed the underwater shots that served no other purpose than as a tech demo? Movie over in under an hour. It’s like Star Trek: the Motion Picture without the 45 minutes of “look at the cool new Enterprise model”. For another… well, it wasn’t about this, but it was certainly a permeating undercurrent to the whole thing. Natives? Completely irrelevant. The important thing is to work that paleontology and retrieve the creature-skeleton (and later, of course, the live specimen instead) in order to prove that it existed and make us all rich and/or famous. I mean, until the white people are in danger. Then it’s time to stop this tomfoolery and save ourselves. I know it was a different time, but I really am amazed/amused that nobody on the writing staff seemed to notice how blatantly dismissive of the natives they were being. Oh, and the paleontology? Maybe they were this careless back then, but I doubt it. The techniques were completely laughable, and I am very much an amateur on this topic.

But what it was really about was the relationship between the creature and the girl. The completely hot, thank you for going swimming and I wish you weren’t in your 80s right now girl, I’d like to add. She was thoroughly yum, and even moreso in her explorer shorts than in the bathing suit, if you can believe it. Which would be beside the point, really, except for the part where the creature is a stand-in for every teenage boy in America. Two goals: 1) get the girl, and then take her back to your aquatic underground lair where you’ll, well, okay, you don’t exactly know what it is you want to do, but boy do you ever want to do it, and 2) kill anyone that gets in the way of goal one, because that testosterone is on the upsurge just now, if you know what I mean.

I guess my point is, once the underwater scenes got old, it was the inferior of the two films due to being not quite as deep of theme. But then again, a good slice of cheesecake goes a long way. Also: multiple gratuitous spear gun shots, off the screen and right into your face! Yay, 3-D.

It Came from Outer Space

1 Reply

Just nearly a week ago, I made a run down to Austin to catch a, well, a science fiction double feature. No, really. And in 3-D! It had been a while since I’d watched red-blue 3-D, as opposed to the stuff they have at IMAX these days with the cross-stitched goggle lenses. It reminds me of nothing so much as those dioramas that you’ll get at some natural history museums, with all kinds of animals and rocks in the foreground, and a painted background. But mostly, it was eye-poppingly 3-D, which was pretty cool. I speculate that it works a lot better in black and white than it does in color, although I’d need something recent to compare with know for sure.

My point is, good or bad, I’ve already gotten my money’s worth out of these movies. I bet this is how it was in the early days of 3-D at the real-life cinema, too. Conveniently, It Came from Outer Space is a pretty good film in its own right. Everyone will talk about Cold War paranoia, and maybe there’s something to it, but I think that’s entirely too narrow of a reading. The fact is, the outsider has always terrified us as a species, and it probably always will. Sure, we’re thinking of Muslim extremists these days instead of Russian commies, but it’s all the same thing, and it will be in another fifty years too. Although, perhaps with literal aliens.

So, there’s this meteor, right? Well, no, it’s really a spaceship, but try convincing anyone else in town of that when you’re just an amateur astronomer that hasn’t a lick of credibility. Then, before you know it, some Vorlon-looking aliens have started kidnapping people and then posing as them and buying up all kinds of metals and electronic parts. And now that you finally have enough evidence to convince the sheriff, oops, they’ve got your girlfriend. Now that otherwise highly useful posse he is itching to use, it’ll just get your girlfriend killed. (And quite possibly the Professor, for that matter, whose name turns out to be George.) But it’s okay, because they only want to go home and don’t mean us any harm, it’s just they’re scared that we’ll lash out and kill them for the crime of being different. …or is it all a trick, and they mean to wipe us off the face of the galaxy?

On the one hand, I get a little bit annoyed at sci-fi film after film in the ’50s and ’60s telling me that humans are paranoid freaks who’ll destroy anything they don’t understand or fear that they can’t control. Even though they’ve developed space travel, surely there must be some aliens out there who are paranoid freaks in their own rights rather than benevolent overlords who just want to teach us a lesson and then be on their way. But on the other hand, the scene where the sheriff crushes the (obviously fake, not even minimally frightening) spider under his foot in demonstration of what he’d do to those aliens just for the sin of alienness? It touches me, man, deep in my soul. So, y’know, maybe no aliens for me.

Slither (2006)

3 Replies

You know Creepshow? Well, obviously you do; I didn’t mean to be insulting. So, here’s my point. Imagine if the meteor that turned Stephen King into a plant instead landed in Hicksburg, The South, USA and got all The Thing on the local residents, and then it and Malcolm Reynolds got into a competition for the same girlfriend. In this circumstance, you would be watching Slither, an excellent space monster movie that is inexplicably failing to sell tickets. I mean, this movie has alien cow-tipping!

More impressively even than that, though, it has that degree of reality that I was just praising in The Hills Have Eyes, where it feels like actual people are in this actual situation, somewhere just down the road and not in my life only through sheer geographic and temporal luck. Which is quite a feat for an alien-in-a-meteor flick. So, good on them.

Also? Someone I’ve had drinks with was in the credits. That’s never not cool.

V for Vendetta

You would think that after liking a movie a whole lot, I would be compelled to get out there and spread the word, right away. And that would be very rational of me. Nevertheless, here I am more than a week after seeing V for Vendetta, and obviously I’m only just getting here. This is a movie I’d have been perfectly happy to see again in the same week, mind you, only my mom has yet to be up to it. Plus, there’s this whole test-studying thing going on, but I’m nearly done there and also I digress.

So there’s this movie, right? In a lot of ways, it’s a straight up revenge movie in the fine tradition of Sudden Impact, Death Wish, or I Spit on Your Grave. At first that bothered me, because I had the idea that it was a meaningful, important film. But then it stopped bothering me when I realized that it could be both. If your revenge is grand enough and the cause is dire enough, you can be the match that sets off hundreds of pounds of gunpowder. Metaphorically speaking, of course. And I’m impressed that in the middle of a movie that I’m willing to compare to Death Wish, there could have been something as moving and true as Valerie’s story, which segment was worth the price of admission all by itself.

It’s misleading, because it looks like a pointed political allegory condemning the way we’re living our lives here in the western world these days. And, okay, maybe it is. But what makes it misleading is that it really isn’t just about right now. It’s about any society that allows its decisions to be made by its fear, and if that seems like a timely topic just now, maybe it just means that more people need to hear the message.

Also? All of the acting was great, and I have no complaints about the scripting. Best movie so far this year, and unless its predictive value is a little stronger than I’m comfortable with, it will be the movie that stands the test of time.

Return of the Jedi: Infinities

I know it seems like I should be a long way behind, but I’m not. No movies in an Age, one of my books vanished (and has since been replaced, but I’m in the middle of another book right now, which is huge and comfort material, because I wanted to turn my brain off for a bit), I’ve been playing Final Fantasy (and sure, doing well, but the end is days off yet at the minimum). However, I have read several comics lately, and I think I’m willing to review them. So, there’s that.

I was out looking for issues of Serenity, and I came across a 4-part Dark Horse offering, Return of the Jedi: Infinities. A minor change during one of the Jabba’s Palace scenes launches an alternate history of Episode VI. I like Star Wars, and I like alternate history, so I went for it.

Here’s the thing: it’s got flashes of unique vision, although a lot of the story seems to involve moving the chess pieces around such that the characters wind up in essentially identical situations, only slightly more bleak about it, for maximum angst. Which isn’t that bad in itself, except that the closing scene of the story is complete cheese, both on paper and in the execution. I didn’t buy it a bit, put the thing down in disgust, and may have been scarred for life if only I wasn’t aware of the awesomeness of other comics that are available these days. (Such as that Serenity I mentioned, once the third issue comes out and I finish the story. Or Sandman.)

The Joiner King

Apparently, there are new Star Wars books set later in the continuity than the New Jedi Order stuff (which has ended, so that partially explains that.) I read it between two weeks and a month ago. I wonder, therefore, if I can remember the title. …and, as it happens, I did so while explaining myself just now. It’s the Dark Nest trilogy, with this particular first book being called The Joiner King.

Even after over a decade of books detailing the rise of the new generation of characters, I’m still only minimally attached to them. It didn’t help my enjoyment of the book that a lot of what happened revolved around pheromones changing peoples’ brain chemistries such that they act in new and unexpected ways. I’m not going to come out and call it a sloppy plot device until I see how it plays out over the next couple of books, because, right, trilogy. Nevertheless, it tainted an otherwise fairly decent story. Standard adventury goodness, some rehashing of the Jedi trying to find their way in a changed galaxy and the government trying to find its way in a new galaxy, but those parts worked despite being rehashed, because the galaxy is more fundamentally changed than it was even after the fall of the Empire.

My favorite part was incidental so far, involving Luke’s discovery of some old recordings of his father and mother in Artoo’s memory banks that the droid keeps trying to prevent him from seeing, for reasons unknown. Because, like I started to say before, I’m mostly still interested in the original characters, 10 years on or not.

In sum: Interesting main plot conceit. Tantalizing side story. Character Template Modifications of Weirdness +2. Decent new characters. (An Ewok with a death mark on his head in multiple systems; cheesy, but it makes me giggle.) It’s not bad Star Wars, but I’d claim that most bad Star Wars has been stamped out these days. Not brilliant Star Wars, either. If you were already going to read it anyway, still do; if you weren’t, I’m not here to change your mind.

Stealth

Stealth, aka I Saw It So You Don’t Have To. Only, it had things going for it. The obvious ones are lots of explodey action sequences, and that’s virtually always enough to keep me entertained. I will say that I kinda thought Jamie Foxx was at a point in his career where he could do better than this, though.

But, I was talking about things going for it. Some eye candy, and the explosions, a shadowy government conspiracy, Russian MIGs, and a wise-cracking AI that is just waiting for a chance to go rogue. So, all that, sure. Plus, the script was written by someone with ADD. I’m serious about that. Basically, if at any point you find that you’re bored of the plot, then have no fear; it changes directions completely with every single reel change.

I know it sounds like I’m down on it, and I want to be, but I can’t quite manage to be. At the end of the day, it was a workmanlike, by-the-numbers action flick, and those are worthwhile. It had nothing as bad as the romance scenes in Armageddon or the pet scenes in Independence Day. And when you think about it, Top Gun is really only as good as it is in our memories because we haven’t watched it lately. (Trust me on this one; it’s not worth it.)